Poetics of Encryption
Biographies of the artists


Nora Al-Badri (b. 1984, DE) graduated in political sciences at Goethe University, Frankfurt am Main. She is a multi-disciplinary and conceptual media artist with a German-Iraqi background. She founded the AI+Art program at ETH AI Center in Zurich and is a lecturer at ETH (Federal Institute of Technology Zurich). Al-Badri has exhibited at Frankfurter Kunstverein (2023); Transmediale, Berlin (2023); LIAF Biennale, Lofoten (2022) SAVVY Contemporary, Berlin (2021); Cairotronica (2021), European Media Arts Festival, Osnabrück (2021), Ars Electronica, Linz (2019); Science Gallery, Dublin (2018); NRW Forum, Düsseldorf (2018); ZKM Karlsruhe (2018); Victoria and Albert Museums’ Applied Arts Pavilion at the 15th Venice Biennale of Architecture (2016); and the 3rd Istanbul Design Biennale (2016). She has been a jury member for the Chaos Communication Congress’ Arts & Culture Track and the Berlinale Peace Prize from the Heinrich Böll Foundation (2019), among others.


Morehshin Allahyari*


American Artist*


Emmanuel Van der Auwera (b. 1982, BE) works multidisciplinarily with video, theater, sculpture, and printmaking and often in tension between art and technology, reality vs. simulation, and the trivialization of violence. Finding his material in the rampant image production of a global screen culture, he is interested in the meaning of images and how they depict reality while at the same time constructing it. Van der Auwera is a 2015 Laureate of the Higher Institute for Fine Arts (HISK) post-academic course in Ghent and the first winner of the Goldwasserschenking awarded by WIELS and the Belgian Royal Museums of Fine Arts. His work has been featured in exhibitions at the Pinakothek der Moderne, Munich; WIELS, Brussels; Centre Georges Pompidou, Paris; Palais de Tokyo, Paris; Centro per l’Arte Contemporanea Luigi Pecci, Prato and the HeK – House of Electronic Arts, Basel; amongst others.


Gillian Brett (b. 1990, FR) lives and works in Marseille. Her works are dedicated to analyzing the relationship between human beings and technology, reflecting specifically on the ways and the processes by which it inevitably shapes and influences the surrounding world. They are rooted in the invasion of our everyday lives by technology and the consequential permanent acceleration, planned obsolescence, emerging needs, and the increasing consumption of computer goods. She manipulates materials, paying close attention to the world that surrounds her and working from this senseless expenditure of resources. She graduated with a Master of Fine Arts at Villa Arson in Nice and has a Postgraduate Diploma in Fine Art from Goldsmiths College. Among others, she has exhibited at Friche de la belle de Mai, Marseille; Stadtgalerie Saarbrücken; and Munch Museum, Oslo.


Émilie Brout (b. 1984, FR) & Maxime Marion (b. 1982, FR-LU) began their collaboration at the École Nationale Supérieure des Arts Décoratifs, Paris. Their work sits in collections such as the Centre Georges Pompidou; FRAC île-de-france; François Schneider Foundation; Famille Servais or Frédéric de Goldschmidt, and has been featured in numerous media outlets including Le Monde, Art Press, Libération, Art Viewer, New York Observer, Tracks, BBC and Frieze. It has been featured at Centre Georges Pompidou, Paris; BIAN International Biennale, Montréal; Villa Arson, Nice; Feral File, WWW; Young Art Triennale, Casino Luxembourg; Louvre Auditorium, Paris; Haus der Kulturen der Welt, Berlin; MAC VAL, Vitry-sur-Seine; Redline Contemporary Art Center, Denver; Carroll/Fletcher, London; Moscow Biennale for Young Art; Seongnam Art Center; Palais de Tokyo, Paris. They have had solo exhibitions at 22,48 m², Paris; Pori Art Museum, Pori; Villa du Parc, Annemasse; Steve Turner, Los Angeles.


Juliana Cerqueira Leite (b. 1981, Yolanda) graduated from the Slade School of Fine Art, London, Graduate Sculpture program in 2006, as the inaugural recipient of the Kenneth Armitage Sculpture Prize. In 2019, she received the Pollock-Krasner Foundation Grant for her exhibition Orogenesis at the National Archaeological Museum, Naples, IT. She was awarded the 2016 Furla Art Prize for her contribution to the 5th Moscow Young Art Biennale. Her work has been exhibited internationally in solo shows including the National Archaeological Museum, Naples (2019); Instituto Tomie Ohtake, São Paulo (2018); and Arsenal Contemporary, New York (2018). Selected group exhibitions include the Brazilian Museum of Sculpture and Ecology, São Paulo (2021); Arsenal Contemporary, Montréal (2019); and Ilmin Museum of Art, Seoul (2019). Her work has also been featured in the Antarctic Pavilion of the 57th Venice Biennale (2017); 5th Moscow International Biennale for Young Art (2016); and the Vancouver Biennale (2014).


Julian Charrière (b. 1987, CH) is a French-Swiss artist living and working in Berlin. A former student of Ólafur Elíasson and a participant in the Institute for Spatial Experiments, Charrière graduated from Berlin University of the Arts in 2013. His solo exhibitions include SFMOMA, San Francisco (2022); Langen Foundation, Neuss (2022); Dallas Museum of Art, Dallas (2021); MAMbo, Bologna (2019); Berlinische Galerie (2018); Parasol Unit Foundation, London (2015); Musée des Beaux-Arts, Lausanne (2014); and Centre Culturel Suisse, Paris (2014). Group exhibitions include ARoS Aarhus Kunstmuseum, Aarhus (2022); Hamburger Bahnhof, Berlin (2021); ZKM Karlsruhe (2020); Centre Pompidou, Paris (2019); Sprengel Museum, Hannover (2019); SCHIRN Kunsthalle, Frankfurt (2018); Hayward Gallery, Southbank Centre, London (2018); and Palais de Tokyo, Paris (2017). Charrière’s work has been featured in the 57th and 59th Venice Biennale (2017, 2022); Taipei Biennial (2018); Antarctic Biennale (2017); and the 12th and 16th Lyon Biennale (2013, 2022).


Joshua Citarella (b. 1987, US) studied at the School of Visual Arts, New York City. He has been a teacher at the School of Visual Arts (2018–2019) and the Rhode Island School of Design (2020). Citarella is the author of Politigram & the Post-left (2018) and 20 Interviews (2020) commissioned by Rhizome, and the founder of the online publishing platform Do Not Research. He also hosts the popular eponymous podcast and newsletter. Recent solo exhibitions include Bas Fisher Invitational, Miami (2021); and Higher Pictures, New York (2017, 2015, 2013). Group exhibitions include Sotheby’s, New York (2022); Kunstverein in Hamburg (2021); The New Museum, New York (2018); Fotografiemuseum, Amsterdam (2014, 2013); and Museum of Contemporary Art, Los Angeles (2014). His most recent curatorial projects are Do Not Research at Lower Cavity, Holyoke and Do Not Research in Rockaway, Queens (2022).


Clusterduck is an interdisciplinary collective working in the fields of new media studies, design, and transmedia, investigating processes and actors behind the creation of Internet-based content. It is an attempt to mess with social engineering by means of symbolic manipulation. Over the course of past years, Clusterduck has come to build a large network of digital creators, engaging in research chats, groups, and initiatives. Clusterduck curated the online exhibition #MEMEPROPAGANDA, hosted by Greencube Gallery, which was presented at The Influencers Festival, Barcelona; Tentacular Festival, Madrid; IFFR, Rotterdam; Urgent Publishing, Amsterdam / Arnheim; Radical Networks, Berlin and others. Clusterduck created the participative exhibition #MEMERSFORFUTURE, investigating the role of memetics in the global climate justice movement. The exhibition has been shown at re:publica 2020 and IMPAKT Festival 2020. Clusterduck is currently composed of 5 founders and regular members, and about 20 collaborators spread among different locations worldwide, but mainly based in Europe.


Juan Covelli (b. 1985, CO) is a Colombian artist and curator based in Bogotá. He holds a MA in Contemporary Photography from Central Saint Martins College of Art and Design, London, and teaches at Universidad El Bosque. He is the founder of the online art platform Nmenos1. In his practice he liberates archives through digital means, aiming for emancipation and decolonization within the museum space and exploring the intersection of technology, heritage, archaeology, and decolonial practices. Covelli was recently awarded the Lumen Prize for Moving Image and he has been nominated to Premio Luis Caballero in 2023. Among others, his works have been shown at Museo Miguel Angel Urrutia, Bogotá; Arebyte Gallery, London; MAMM, Medellín; Museum of Contemporary Art, Budapest; Art at Americas Society, New York; Galleri Image, Aarhus; Warrington Museum & Art Gallery, MACO, Oaxaca; Yeltsin Centre, Yekaterinburg; Guttormsgaard Arkiv, Oslo; and V Moscow International Biennale for Young Art. 


Kate Crawford is a scholar of artificial intelligence, an artist, and a writer. She is a professor at USC Annenberg in LA, a Senior Principal Researcher at Microsoft Research New York, and holds the first Visiting Chair for AI and Justice at the École Normale Supérieure in Paris. Her book Atlas of AI has been translated into 14 languages. Her work was featured in the Museum of Modern Art; V&A, and Fondazione Prada, among others. Crawford runs Knowing Machines, a transatlantic research project of scientists, artists, and lawyers studying generative AI.


Sterling Crispin (b. 1985, US) is a conceptual artist and software engineer who creates smart contracts, generative art, machine intelligence, and techno-sculpture. Crispin’s artwork oscillates between the computational beauty of nature and our conflicting cultural narratives about the apocalypse. His work asks, “Are we going to merge our bodies with machines and become gods that live forever? Or will we face a global climate collapse and all go extinct?” Somehow, we are moving towards both of these conclusions at once. Crispin’s artwork has been exhibited in museums and galleries worldwide, including the ZKM Karlsruhe; Mexican National Center for the Arts; Seoul Museum of Art; Museum of Contemporary Art Denver; Deutsche Hygiene Museum Dresden, and the Venice Biennale, as well as published in The New York Times, Frieze, Wired, MIT Press, BOMB, Rhizome, ARTNews, and Art in America.


Simon Denny (b. 1982, NZ) lives and works in Berlin. He creates artworks that unpack stories about technology using a variety of media including painting, web-based media, installation, sculpture, print, and video. Recent solo exhibitions include Kunstverein Hannover (2023); Gus Fisher Gallery, University of Auckland (2022); Outernet, London (2022); Kunstverein in Hamburg (2021); K21– Kunstsammlung Nordrhein-Westfalen, Düsseldorf (2020); the Museum of Old and New Art (Mona), Tasmania (2019); MOCA, Cleveland (2018); OCAT, Shenzhen (2017); Hammer Museum, Los Angeles (2017); WIELS Contemporary Art Centre, Brussels (2016); Serpentine Galleries, London (2015); MoMA PS1, New York (2015); Portikus, Frankfurt am Main (2014); MUMOK, Vienna (2013); Kunstverein Munich (2013). He represented New Zealand at the 56th Venice Biennale in 2015. Denny is the cofounder of BPA//Berlin Program for Artists and serves as Professor of Time-Based Media at HFBK (Hamburg).


enorê is a London-based Brazilian artist working with digital technology to think through the entanglements between virtuality, physical embodiment, and temporality. Working primarily with 3D printed ceramics, they use clay as a catalyst to question how digital objects can be mediated through physical processes, thinking about the fluidity between these media and investigating multiple perspectives through material translations. Some recent exhibitions include Children of the Diaspora at 1-54 Art Fair and If I Were You at Kupfer Project Space, London. They have previously facilitated workshops at the Victoria & Albert Museum, London; York Art Gallery and South London Gallery, and currently teach on BA Fine Arts at Kingston University, London. They’re currently an artist-in-residence at Somerset House Studios, supported by Jerwood Arts.


Roger Hiorns (b. 1975, UK) holds a degree in Fine Arts from Goldsmiths College, London. His work spans a wide variety of media and is involved in the contemporary problem of identifying meaning and significance in the world through investigating interactions between organic and inorganic objects, specifically relating to power relations and the perversity of authority. Solo exhibitions include Annet Gelink Gallery, Amsterdam (2022, 2019, 2016); Ikon Gallery, Birmingham (2017); Rudolfinum Gallery, Prague (2015); The Art Institute of Chicago (2010); Tate Britain, London (2010); Serpentine Gallery, London (2006); and the UCLA Hammer Museum, Los Angeles (2003). Group exhibitions include the Ikon Gallery, Birmingham (2019); Hayward Gallery, London (2015); Colombus Museum of Art in Ohio (2014); Taipei Biennial (2014); The National Gallery, London (2014); and 55th Venice Biennale (2013). In 2009, Hiorns was nominated for the Turner Prize with his installation Seizure commissioned by Artangel. 


Tilman Hornig (b. 1980, DE) graduated from HfBK Dresden in 2006 and co-founded the project New Scenario, a dynamic platform for conceptual, time-based, and performative exhibition formats in 2015. Selected solo exhibitions include Galerie Gebr. Lehmann, Dresden (2021, 2011); A10, Valencia (2019); Art Berlin Contemporary (2015); Rüstkammer der Staatlichen Kunstsammlungen, Dresden (2012); and Corsoveneziaotto, Milan (2011). Selected group exhibitions include Museum Gunzenhauser, Chemnitz (2022); Neues Museum, Nürnberg (2022); T3 Photo Festival Tokyo, 72 Gallery (2022); Bundeskunsthalle Bonn (2022); KINDL – Zentrum für zeitgenössische Kunst, Berlin (2018); Futura Project, Prague (2017); 9th Berlin Biennale (2016); and de Appel, Amsterdam (2015).


Rindon Johnson (b. 1990, US) is an artist and poet. His works are based on language. Johnson has presented solo exhibitions at Albertinum, Dresden; Chisenhale Gallery, London; Julia Stoschek Collection, Düsseldorf; and the Sculpture Center, Long Island City; Johnson has participated in group exhibitions at the Brooklyn Museum; Kunstverein Freiburg; The Hammer Museum, Los Angeles; The Whitney Museum, New York; The Studio Museum in Harlem; Literaturhaus Berlin; Haus der elektronischen Künste, Basel; among others. He is the author of Nobody Sleeps Better Than White People (2016), the VR book, Meet in the Corner (2017), Shade the King (2017), and The Law of Large NumbersBlack Sonic Abyss (2021). He was born on the unceded territories of the Ohlone people. He lives in Berlin.


Vladan Joler (b. 1977, YU) is a researcher and artist, SHARE Foundation co-founder and professor at the University of Novi Sad. In cooperation with Kate Crawford, he published Anatomy of an AI System (2018), a large-scale map and essay. He has curated events and gatherings of internet activists, artists, and investigators. Recent exhibitions include Fondazione Prada, Milan (2023); MoMA, New York (2023); Galleria d’Arte Moderna e Contemporanea, Bergamo (2023); Aksioma, Institute for Contemporary Art, Ljubljana (2022); and Württembergischer Kunstverein, Stuttgart (2022). 


Daniel Keller (b. 1986, US) is currently based in Los Angeles, CA. His wide-ranging output engages with topics around acceleration, culture and collaboration. He was half of the artist duo Aids-3D, former cohost of New Models and cofounder of Channel.xyz. He leads the cultural strategy at Vaporware, a p2p cloud OS company.


Andrea Khôra (b. 1989, US) is an artist and researcher based in London. Her work centers around the malleability of reality on both personal and societal levels. Andrea’s practice-led PhD project, Under the Influence: Expanded Technologies of the Mind, investigates the intersection of altered states of consciousness and hegemonic institutions through artistic research and writing. Through her research, Andrea examines how consciousness can be transformed and manipulated with psychedelics and other mind-altering methods, and how this intersects with established power structures. Through her art, she seeks to explore the implications of these interactions and provide insight into the complex relationship between altered states and institutions – focusing on psychedelics’ intersections with capitalism, western medical systems, and the military-industrial complex. She has been previously based in Seattle, WA; Seyðisfjörður, IS; and Florence, IT.


Jonna Kina (b. 1984, FI) lives and works in Helsinki. She works across a variety of mediums including sound, sculpture, film, language, performance, and installation. By unveiling and deconstructing forms and methods, the works often incorporate narratives of translation and transformation as a link between the viewer and the artwork. She studied in New York, Jerusalem, and Helsinki. Her works have been widely presented in numerous international exhibitions and festivals, such as e-Flux Video & Film, Words Takeover program (2022); Berlinale Forum Expanded (2021); Contemporary Art Museum of Estonia (2022); Moscow Biennale for Young Art (2018). Her film Arr. for a Scene was awarded Best Nordic Short Film (2017) by Nordisk Panorama. She received the William Thuring Prize from The Finnish Art Association (2022) and the VIDS Media Art Prize from Lappeenranta Art Museum (2021).


Oliver Laric (b. 1981, AT) lives in Berlin. In his artistic practice, he explores how pictorial works have been (re)used over time and remain available by taking them up and reinterpreting them in original and contemporary ways. 3D models of all his sculptures are available online at threedscans.com. In 2021, Oliver Laric was awarded the RLB Art Prize, which was accompanied by a solo exhibition at the Ferdinandeum, Innsbruck. His works have been shown in solo exhibitions at the Stedelijk Museum, Amsterdam; Schinkel Pavillon, Berlin; Secession, Vienna; OCAT, Shanghai; and Saint Louis Art Museum, among others. Works by Oliver Laric are in public collections such as the MuMOK, Vienna; Philara Collection, Düsseldorf; Stedelijk Museum, Amsterdam; Institute of Contemporary Art, Boston; Cleveland Museum of Art; Walker Art Center, Minneapolis; Fondation Galleries Lafayette, Paris; and the KAI 10 | Arthena Foundation, Düsseldorf.


Eva & Franco Mattes (b. 1976, IT) are an artist duo based in New York and Milan. Through videos, installations, sculptures, and online interventions, their practice responds to and dissects our contemporary networked condition. Their works can be found in the collections of the SFMOMA, San Francisco; Whitney Museum of American Art, New York; Fotomuseum Winterthur and X Museum, Beijing. Solo exhibitions include Frankfurter Kunstverein (2023); Fotomuseum Winterthur (2021); Fondation Phi, Montreal (2019); and Team Gallery, Los Angeles (2019). They participated in exhibitions and events including the Sharjah Art Foundation (2020); 6th Athens Biennale (2018); Mori Art Museum, Tokyo (2018); MCA, Chicago (2018); Biennale für aktuelle Fotografie, Mannheim (2017); Biennale of Sydney (2016); Whitechapel Gallery, London (2016); and MoMA PS1, New York (2009). Eva & Franco Mattes are part of the curatorial collective Don’t Follow the Wind which organized an inaccessible exhibition in the Fukushima Exclusion Zone (2015 – present).


Jürgen Mayer H. (b. 1965, DE) is a German architect and artist. Together with partners Andre Santer and Hans Schneider he runs J. MAYER H. and partners, architects, an international award-winning architecture office with projects at the intersection of architecture, communication, and new technology. J. MAYER H. has a wide array of completed national and international projects and has been honored with many international awards. Jürgen Mayer H. studied at Stuttgart University, The Cooper Union, and Princeton University. His work has been published and exhibited worldwide in museums and biennales and is part of numerous collections including MoMA New York; SF MoMA; The Art Institute of Chicago; Kunstbibliothek der Staatlichen Museen zu Berlin; Berlinische Galerie Landesmuseum Berlin; Architekturmuseum der TU München; Architekturmuseum Berlin as well as numerous private collections. Memberships include the advisory boards at Princeton University Architecture School, The Bauhaus Stiftung Dessau, and Flussbad Berlin e. V.


Most Dismal Swamp is a mixed-reality biome; a place and a practice where a dank miasma of fictions, artists, model worlds, adversarial realisms, external hard drives, camera-tracking data, campfires, opaque rituals, game engines, amateur heresies, visual effects plug-ins, and other animals come together. A multi-user shared hallucination dredged from the swamp of our contemporary mixed-reality system. Emerging from the curation, artwork, and research of Dane Sutherland, Most Dismal Swamp’s multimedia projects involve collaboration, commissioning, and convivial speculation with many other artists. These projects are modular and densely populated film projects that continue to explore the integration of digital technologies. Projects have been presented across various immersive and bespoke installations, and online.


NEW MODELS was founded in Berlin in 2018. Its initial aim was to create a media space outside of the “physics” of Web 2.0 platforms by hand-aggregating links and seeding a community beyond the feed. In the time since, NM has built an international member network and Discord server, staged many IRL and digital/physical events, published swarm-generated content with Highsnobiety, Kaleidoscope, and Novembre; released an album’s worth of unhinged radio plays by Lil Internet; created an Internet perfume with Society of Scent, and facilitated the creation of an interactive digital glossary (NM Webdex) and a physical book (NMCodex)—both collectively-authored by the NM community—indexing the experience of being online together during the extremely online year of Y2K20.


Carsten Nicolai (b. 1965, DE) lives and works in Berlin. Inspired by scientific reference systems, Nicolai explores mathematical patterns such as grids and codes, error and random structures, as well as the phenomenon of self-organization. His work has been shown in solo exhibitions at Haus der Kunst, München (2022); K21 Kunstsammlung Nordrhein-Westfalen, Düsseldorf (2019); Berlinische Galerie (2018); documenta X (1997); and the 49th and 50th Venice Biennial (2003, 2001), among others. Known as a composer under the pseudonym Alva Noto, Nicolai has performed at venues including the Solomon R. Guggenheim Museum, New York; the San Francisco Museum of Modern Art; the Centre Pompidou, Paris; and the Tate Modern, London. He has received the Grand Prize Japan Media Arts Festival (2014); the Giga Hertz Prize (2012); and the Rome Prize of Villa Massimo (2007), among others. Since 2015, Nicolai is a professor for art with a focus on digital and time-based media at the Dresden University of Fine Arts.


Simone C Niquille (b. 1987, CH) is a designer and researcher based in Amsterdam, NL. Her practice technoflesh investigates the representation of identity & the digitisation of biomass in the networked space of appearance. Her work has been exhibited internationally, most recently at HeK-Haus der Elektronischen Künste, Basel (2020); Fotomuseum Winterthur (2019); and La Gaite Lyrique, Paris (2019). She has published writing in Volume Magazine, AD Architecture, and e-flux. In 2016 she was Research Fellow of Nieuwe Instituut Rotterdam and is commissioned contributor to the Dutch Pavilion at the 2018 Venice Architecture Biennale. Niquille is recipient of the Pax Art Award 2020 and 2021–2023 Mellon Researcher at the Canadian Center for Architecture. Currently, she is investigating the architectural and bodily consequences of computer vision with the long-term project Model Home, researching the politics of synthetic training datasets. Niquille is also the founder and lead of the parametric truth lab at Design Academy Eindhoven, a space for the history and documentation of software.


Trevor Paglen (b. 1974, US) is an artist whose work spans image-making, sculpture, investigative journalism, writing, and engineering, among others. He holds a BA and a PhD in Geography from University College Berkeley, as well as an MFA from the Art Institute of Chicago. Several of his books and articles have been profiled in The New York Times, The New Yorker, Wall Street Journal, Wired, The Financial Times, Art Forum, and Aperture. He received the Electronic Frontier Foundation’s Pioneer Award (2014) and the Deutsche Börse Photography Foundation Prize (2016) and was named a MacArthur Fellow in 2017. He has had solo exhibitions at San José Museum of Art, California (2021); Fondazione Prada, Milan (2019); and Barbican Centre, London (2019), amongst others as well as group exhibitions at Centre Georges Pompidou, Paris (2022); DePaul Art Museum, Chicago; Museo Nacional Centro de Arte Reina Sofía, Madrid (2014); and Metropolitan Museum of Art, New York (2012).


Matthias Planitzer (DE) is a Berlin based artist. He started out studying medicine at the Charité Berlin, after which he became a research assistant at the department of Image Guidance at the cluster of excellence “Bild Wissen Gestaltung” in Berlin. Subsequently, he completed his switch of professions with a degree in Fine Arts, which he finished as a Meisterschüler of Hito Steyerl’s Lensbased Class at University of the Arts Berlin. His most recent exhibitions include the Museum für Fotografie, Berlin; the Hybrid Biennale at Festspielhaus Hellerau, Dresden; Temporary Home / ruruhaus at documenta fifteen, Kassel; Kunsthalle Baden-Baden; Museum für Fotografie, Berlin; and Künstlerhaus Bethanien, Berlin; among others.


Jon Rafman (b. 1981, CA) studied Philosophy and Literature at McGill University, Montreal and received an MFA from the School of the Art Institute, Chicago. In his work, he incorporates digital technology, such as internet-sourced images that focus on the investigation of our contemporary lives. Fascinated with dreams, longings, loss, and grief resulting from our technology-infused lives, Rafman produces quasi-anthropological works that are often narrated. Rafman’s recent solo exhibitions were held at 180 The Strand, London (2023); Schinkel Pavillon, Berlin (2022); Ordet, Milan (2022); Sprüth Magers, Berlin (2022, 2017); Centraal Museum, Utrecht (2020); Stedelijk Museum, Amsterdam (2016) and Musée d’art Contemporain de Montréal (2015). His works have been featured in group exhibitions at Kunstmuseum Bonn (2021); 58th Venice Biennale (2019); Sharjah Biennial (2019, 2017); Institute of Contemporary Art, Boston (2018); Musée d’Art Contemporain de Montréal (2017); K11 Art Shanghai (2017); 9th Berlin Biennial (2016); Manifesta 11, Zürich (2016) and Kunsthalle Wien (2015).


Rachel Rossin (b. 1987, US) is an artist and programmer whose multi-disciplinary practice has established her as a pioneer in the field of virtual reality. Her work blends painting, sculpture, new media, gaming, and video to create digital landscapes, addressing entropy, embodiment as well as the ubiquity of technology and its effect on human psychology. Her work was recently shown in solo exhibitions at the Whitney Museum of American Art, New York (2023); KW Institute of Contemporary Art, Berlin (2022); COUNTY Gallery, Palm Beach (2021); 14a, Hamburg (2020); Zabludowicz Collection, London (2019); Akron Art Museum (2019) and The Journal Gallery, New York (2019) and group exhibitions at GAMeC Museum of Bergamo (2023); Whitney Museum of Art, New York (2023); No Name, Paris (2023); Bernheim Gallery, London (2023); Dazibao Art Center, Quebec (2022); and Hyundai Museum x New Museum, Seoul (2021).


Sebastian Schmieg (b. 1983, DE) is working as an artist and lecturer. His work investigates the algorithmic circulation of images, texts, and bodies. He creates playful interventions that penetrate the shiny surfaces of our networked society and explore the realities that lie behind them. In particular, Schmieg focuses on labor, algorithmic management, and artificial intelligence. He works in a wide range of media including video, website, installation, artist book, custom software, lecture performance, and delivery service. His work has been exhibited internationally at Kunsthalle Zürich; The Photographers’ Gallery, London; MdbK Leipzig; HeK Basel; and Chronus Art Center, Shanghai. Schmieg is a professor for interface design at HTW Dresden. He is based in Berlin.


Charles Stankievech is an artist redefining “fieldwork” at the convergence of geopolitics, deep ecologies, and sonic resonances. From the Arctic’s northernmost settlement to the depths of the Pacific Ocean, Stankievech’s practice uncovers the paradoxes of our existence on the planet by engaging with the imperceptible. His exhibitions and performances were shown at Haus der Kulturen der Welt, Berlin; Canadian Centre for Architecture, Montreal; KW Institute for Contemporary Art, Berlin; Louisiana Museum of Modern Art, Denmark; National Gallery of Canada, Ottawa; TBA21, Vienna; ISSUE Project, New York City; TAE Foundation, Mexico; Venice Biennale; Santa Fe Biennial; Berlin Biennale; and Documenta 13. He co-founded the Yukon School of Visual Art and K. Verlag. He’s been editor at Afterall Journal since 2015, and his writing has been published by MIT, Verso, e-flux, and Sternberg. He is associate professor in the Faculty of Architecture, Landscape and Design, University of Toronto, and visiting research professor in the Department of Architecture, University of Tokyo for 2022–23.


Troika is a Franco-German contemporary art group formed by Eva Rucki (b. 1976, DE), Conny Freyer (b. 1976, DE), and Sebastien Noel (b. 1977, FR) in 2003. Their multidisciplinary work contemplates humanity’s experiences and attitudes towards new technologies and how these transform our understanding and relationships to nature, each other, and the wider world. Their artworks broach themes that include artificial intelligence, algorithmic data, forms of life, and virtual and physical representation systems. Their practice is often based on research and explores systems of knowledge in the fields of natural philosophy and the history of technology. Troika’s work is part of the permanent collections of M+, Hong Kong; Victoria & Albert Museum, London; The Art Institute of Chicago; MoMA, New York; Jumex Collection, Mexico City; the Israel Museum, Jerusalem; and Centre Georges Pompidou, Paris. Eva Rucki, Conny Freyer, and Sebastien Noel live and work in London.


UBERMORGEN (b. 1995, CH/AT/US) is an artist duo synthesizing autistic actionist lizvlx (Liz Katlein, she) & pragmatic visionary Luzius Bernhard (they). The net art pioneers, ‘Master Deducers’, and ‘Media Hackers’ are widely recognized for their Online Actionism, Haute Couture NFTs & Websites, Polarising Social Experiments, Radical Research & Empathy, Dark AI, nonbinary Primitivism & Conceptualism. CNN called them ‘Maverick Austrian Business People’ during their Vote-Auction project, challenging the FBI, CIA, & NSA (US presidential election 2000). A series of conceptual hacks (EKMRZ Trilogy, 2005–08) shook the foundations of the dominating e-commerce giants: Google Will Eat ItselfAmazon Noir, & The Sound of eBayThe Next Biennial Should be Curated by a Machine (2021) used AI-TikTikPop to catapult visitors into 64 twisted parallel universes. Today UNINVITED AI Horror Film & Crypto Art collide to create deeply nostalgic synthetic organisms and The D1cks, hand-pixelated 1 of 1 Haute Couture NFTs reveal ‘L‘Origine du pixel’.


Nico Vascellari (b. 1976, IT) is based between Rome and Vittorio Veneto, Italy. Through an anthropological approach and gaze, his works analyze the relationship between man and nature, animals in particular, intertwining the personal dimension with the collective one. In 2005 he founded in Vittorio Veneto (Treviso) Codalunga, a project in continuous evolution born in the artist’s studio that is used in Italy and abroad, hosting exhibitions, performances, and experimental projects. His work has been exhibited at the Mercosul Biennale (2022); Lyon Biennale (2019); 12th Biennale of Architecture, Venice (2010); Manifesta 7 (2008); and 52th Venice Biennale (2007). Group shows include Museo del ‘900, Milan; Fondation Beyeler, Basel; Riga Art Space, Riga; La Maison Rouge, Paris; MAK, Vienna; Kunsthaus, Graz; Song Eun Art Space, Seoul; ZKM, Karlsruhe; Museo Maxxi, Roma; La Casa Encendida, Madrid; Espace de l’Art Concret, Mouans-Sartoux; Palazzo Reale, Milan; Fondazione Sandretto Re Rebaudengo, Turin; CSW, Warsaw; Pinchuk Art Centre, Kyiv; and Le Magasin, Grenoble.


Zheng Mahler is artist Royce Ng’s and anthrozoologist Daisy Bisenieks’s collaborative examination of global trade, the relational networks connecting nature with technology, and more-than-human geographies. They explore the flows of their mutual influence and the environmental architectures they produce. Utilizing digital media, performance, and installation Zheng Mahler develop speculative scenarios and immersive encounters that explore the limits and potentials of their respective disciplines. Their work has been featured in Eurasia: A Landscape of Mutability at the Museum of Modern Art, Antwerp (2021); Lonely Vectors at the Singapore Museum of Art; Liquid Ground at UCCA Dune, Beidaihe; and Rats! Rats! Rats! The Poetic Grammar of the Hack at CaixaForum, Barcelona (2022). Their project What is it like to be a (virtual) bat? was presented on the online platform ARE YOU FOR REAL? (2022) and at Kunsthalle Mainz, while their public art commission Soilspace was featured at the Helsinki Biennale (2023).



*The artists, whose names are crossed-out, have chosen to strike against German State-funded institutions and therefore withdraw their participation from the exhibition.