Feral File 1.0: Artists - Art exhibition on Feral File

Dmitri Cherniak is an artist and coder based in New York City. His algorithmic art has been exhibited in galleries and exhibitions in New York, San Francisco, and Miami. His most recent project, Ringers (2021), generated an algorithmic edition of 1,000 unique pieces of generative images on the Art Blocks platform. Above all else, Dmitri considers automation as his primary artistic medium. He earned a Bachelor of Science in Physiology and Computer Science from McGill University in Montreal, and he started using social media to share his ongoing projects in 2019.

Claudia Hart emerged as part of the generation of ’90s intermedia “identity” artists. Hart’s first works were feminist critiques of patriarchy and power, taking the form of fake children’s books for adults. In 1995, Penguin published Hart’s A Child’s Machiavelli, a series of oil paintings which was republished last year as a new edition. In 1998, the artist expanded to become an early adopter of 3D animation, her intentions now updated by new media. Simulations technologies pushed her practice to explore issues of the body, perception, and nature collapsing into technology and back again.

Filmmaker and artist Andrew Thomas Huang crafts hybrid fantasy worlds and mythical dreamscapes. A Grammy-nominated music video director, Huang’s collaborators include Bjork, FKA Twigs, and Thom Yorke, among others. Serving as creative director for Bjork’s VR exhibition Bjork Digital, Huang created multiple immersive experiences for the pioneering traveling installation. His films have been commissioned by and exhibited at the Museum of Modern Art, NY, The Sydney Opera House, and the Museum of Contemporary Art, LA. Inspired by his Chinese heritage and queer Asian mythology and folklore, Huang is currently continuing his foray into narrative with his first feature film, “TIGER GIRL,” which has received support from Film Independent and the Sundance Institute. Huang graduated with a degree in Fine Art and Animation from the University of Southern California.

Cao Shu mainly works in new media art, and is based in Hangzhou, China. More recently, Cao Shu has begun to use personal and historical memory as a work interface, while continuing a creative practice that includes a variety of media-based interactions. In recent years, Cao Shu has been an artist in residence at atelier Mondial in Basel, Switzerland(2017), Koganecho Bazzaar Art Festival, Yokohama (2019), and Muffatwerk, the venue for international art and culture, in Munich (2020). Cao Shu’s works have won such awards as the Exposure Award 2021 of PHOTOFAIRS Shanghai, the New Narrative Award from the Long Week of Short Films, and the Beijing International Short Film Festival Award for Outstanding Artistic Achievement. Recent exhibitions include Cao Shu Solo Exhibition-The Ocean of Solaris（Zhejiang Museum，Hangzhou，China，2019)；Cao Shu Solo Exhibition-Flux(ShanghaiTech University，Shanghai，China); Solo Programme-Monster outside the windows(Koganecho，Yokohama，Japan,2019), and others. 曹澍1987年出生，他所运用的媒介包括且不限于数字模拟影像装置、空间环绕式配乐以及互动游戏装置等，他通过对日常经验的跨媒介转化和数字空间搭建来构造出潜在的关联，称自己的工作类似于一种在迷宫中不断迷失并寻找线索的侦探行为。曾于浙江美术馆，上海科技大学展览厅，日本横滨太平庄等地举办个展和个人项目。曹澍近年分别作为瑞士巴塞尔Atelier Mondial （2017），日本横滨黄金町艺术节（2019），德国Muffatwerk文化艺术中心（2020）驻地艺术家。曾获2021PHOTOFAIRS|Shanghai曝光奖、上海短片电影周新叙事奖、北京国际短片联展杰出艺术探索奖等。近期作品展出于UCCA沙丘美术馆，亚洲协会香港中心，北京民生美术馆，OCAT 深圳馆，汉堡法尔肯贝格大厅等。除此之外，曹澍的作品也在世界各地的影展主竞赛单元展出，包括莱比锡纪录片与动画电影节，米兰电影节，昂西国际动画节，渥太华国际动画节，汉诺威国际短片节等。作品收藏于澳大利亚白兔美术馆、以色列尧山当代艺术基金会、浙江美术馆等。现生活工作于杭州。

Lauren Lee McCarthy is an artist examining social relationships in the midst of surveillance, automation, and algorithmic living. She is a 2021 United States Artist Fellow, 2020 Sundance New Frontier Story Lab Fellow, 2020 Eyebeam Rapid Response Fellow, 2019 Creative Capital Grantee, and has been a resident at Eyebeam, ZERO1, CMU STUDIO for Creative Inquiry, Autodesk, NYU ITP, and Ars Electronica. Her work SOMEONE was awarded the Ars Electronica Golden Nica and the Japan Media Arts Social Impact Award, and her work LAUREN was awarded the IDFA DocLab Award for Immersive Non-Fiction. Lauren's work has been exhibited internationally at places such as the Barbican Centre, Fotomuseum Winterthur, Haus der elektronischen Künste, SIGGRAPH, Onassis Cultural Center, IDFA DocLab, Seoul Museum of Art, and the Japan Media Arts Festival. She is the creator of p5.js, an open source programming language for learning creative expression through code online. She helps direct the Processing Foundation, a non-profit whose mission is to promote software literacy within the visual arts, and visual literacy within technology-related fields—and to make these fields accessible to diverse communities. Lauren is an Associate Professor at UCLA Design Media Arts.

Art, code.

Helena Sarin is a visual artist and software engineer working with cutting-edge technologies for tech companies. At the same time, she has done commission work in watercolor and pastel, as well as in the applied arts like fashion, food, and drink styling and photography. Art and software had always run as parallel tracks in her life —software in the digital realm and art in the analog—until she discovered GANs. Since then, generative models became her primary medium. Sarin is known for her artisanal AI art practice, where she works with small datasets made up of her own sketches, ink drawings, engravings, and photographs, which—through the help of AI technologies—are transformed into images that lie across the digital and the analog realm. Her still lifes inherit the particularities of the media in her datasets—we see traces of pastels, newspapers, and photographs as well as the specifics of the AI models. The results are colourful, energetic, and highly personal. She is a frequent speaker at machine learning conferences delivering invited talks at institutions such as MIT, Eyeo Festival, Library of Congress and TEDx Konstanz. Her artwork has been exhibited at a variety of AI Art exhibitions including in Zurich, Dubai, Oxford, Shanghai and Miami. Sarin has published a series of artist books including the sell-out “The Book of GANesis” followed by “GANcommedia Erudita”.

Jan St. Werner is an artist and electronic music composer based in Berlin. Widely recognized as one half of the electronic music group Mouse on Mars, he has also pursued a solo career creating sound works under his own name as well as Lithops, Noisemashinetapes, and Neuter River. Starting in the mid-1990s as part of Cologne’s A-Musik collective, St. Werner has released a steady stream of records both as a solo artist and with Mouse on Mars. He has collaborated with Oval’s Markus Popp as Microstoria and contributes music for installations and films by visual artist Rosa Barba. During the 2000s, Werner acted as the artistic director for STEIM, the Dutch Studio for Electro-Instrumental Music. In 2013, St. Werner released Blaze Colour Burn, the first of a series of experimental recordings called the Fiepblatter Catalogue on Thrill Jockey Records. St. Werner has realized sound interventions and installations in art spaces such as the ICA London, documenta Athens and Kassel, Kunsthalle Düsseldorf, Staatliche Kunsthalle Baden-Baden, HKW Berlin, Lenbachhaus Munich, and Ural Biennial a.o. St. Werner was a visiting professor at MIT’s Program in Art, Culture and Technology (ACT) in 2016 & 2017, served as professor for dynamic acoustic research (DAF) at the Academy of Fine Arts Nuremberg between 2017 and 2021 and was a visiting professor for sound and performance at the Academy of Fine Arts Munich 2020 and 2021.

Refik Anadol (b. 1985, Istanbul, Turkey) is a media artist and pioneer in the aesthetics of machine intelligence, and the director of Refik Anadol Studio in Los Angeles. Since 2008, his works have explored the space among digital and physical entities by creating a symbiotic relationship between architecture, science, technology, and media arts. As an artist and a spatial thinker, he addresses the challenges, and the possibilities, that ubiquitous computing has imposed on humanity, and what it means to be a human in the age of AI. Anadol’s site-specific audio/visual performances have been featured at other iconic landmarks, museums, and festivals worldwide, such as Venice Architecture Biennale, Walt Disney Concert Hall, The Centre Pompidou, Florence Biennale, Hammer Museum, Art Basel, Dongdaemun Design Plaza, The Portland Building, Daejeon Museum of Art, Artechouse, International Digital Arts Biennial Montreal, Ars Electronica Festival, Arc De Triomf, Zollverein | SANAA’s School of Design Building, santralistanbul Contemporary Art Center, Istanbul Design Biennial, and Sydney City Biennale among many others. Anadol has partnered, and continues to work with, teams at Google, Nvidia, Microsoft, NASA JPL, Intel, IBM, Siemens, Epson, MIT, UCLA, Caltech, Harvard, Stanford University, and UCSF to apply the latest cutting-edge science, research, and technologies to his work.

Tyler Hobbs is a visual artist from Austin, Texas, who works primarily with algorithms, plotters, and paint. His artwork focuses on computational aesthetics, how they are shaped by the biases of modern computer hardware and software, and how they relate to and interact with the natural world around us. Tyler develops and programs custom algorithms that are used to generate visual imagery. Often, these strike a balance between the cold, hard structure that computers excel at, and the messy, organic chaos we can observe in the natural world around us.

Morehshin Allahyari (Persian: موره شین اللهیاری‎) (she, her) is a NY-based Iranian-Kurdish artist using 3D simulation, video, sculpture, and digital fabrication as tools to re-figure myth and history. Through archival practices and storytelling, her work weaves together complex counternarratives in opposition to the lasting influence of Western technological colonialism in the context of SWANA (Southwest Asia and North Africa). Morehshin has been part of numerous exhibitions, festivals, and workshops around the world including Venice Biennale di Architettura, New Museum, The Whitney Museum of American Art, Pompidou Center, Tate Modern, Queens Museum, Museum für Angewandte Kunst, among others. Her work has been featured in the New York Times, BBC, Huffington Post, Wired, National Public Radio, Parkett Art Magazine, Frieze, Rhizome, Hyperallergic, and Al Jazeera, among others. In 2021, she received the United States Artist Fellowship. Her artworks are in the collection of the Whitney Museum of American Art, San Francisco Museum of Modern Art, and the Current Museum.

Sofia Crespo is an artist with a huge interest in biology-inspired technologies. One of her main focuses is the way organic life uses artificial mechanisms to simulate itself and evolve, this implying the idea that technologies are a biased product of the organic life that created them and not a completely separated object. Crespo looks at the similarities between techniques of AI image formation and the way that humans express themselves creatively and cognitively recognize their world. Her work brings into question the potential of AI in artistic practice and its ability to reshape our understanding of creativity. On the side, she is also hugely concerned with the dynamic change in the role of the artists working with machine learning techniques. She’s also the co-founder of Entangled Others Studio.

"...mesmerizing artistic simulations…" – NASA Sage Jenson is a media artist focused on speculative biology and emotive simulation. Their work involves tactile audiovisual spaces, complex systems, and the cultivation of digital creatures and ecosystems. Their ongoing simulation project traces a common living thread through material structures spanning time and space. Sage's work has been shown internationally at venues and festivals such as the Barbican Theater, Sundance, and Lyon's Fête des Lumières, among others. They have published in the fields of geometry processing, complex network theory, and human-computer interaction. Sage received a BA and BM from Oberlin College and Conservatory, where they studied mathematics, computer science, and electroacoustic music. In addition to their solo practice, Sage has worked in the field of computational geometry and architecture, most recently with Neri Oxman. Sage lives on a brackish marsh near New York City.

Rafaël Rozendaal is a Dutch-Brazilian artist who lives and works in New York. He uses the internet as his canvas. He also creates installations, tapestries, lenticulars, books, and lectures. He has exhibited at Times Square, Centre Pompidou, Whitney Museum, Valencia Biennial, Casa Franca Brasil Rio, Seoul Art Square, and the Stedelijk Museum. His work is included in the collections of the Whitney Museum, Stedelijk Museum, and Towada Art Center.

Whistlegraph is composed of artists Jeffrey Scudder, Camille Klein, and Alex Freundlich, who draw, sing, and make videos together. The group formed during the 2020 pandemic in a cabin in Ashland, Oregon, which remains their creative base. Over the past few years, they have honed a distinctive style and practice that speaks to embodied cognition, art education, and experimental composition for live performance. The group’s TikTok @whistlegraph is an important platform for their work, where they regularly engage with their 2.2 million current followers. Whistlegraph has also toured, performed, and led educational workshops at Kunstverein Hamburg (Germany), Rhizome, The Schneider Museum of Art (Ashland, OR), Oneroom Gallery (Providence, RI), Willem de Kooning Acadamie (Rotterdam, Netherlands), OCCII (Amsterdam, Netherlands), and the Banana School (Bananskole; Copenhagen, Denmark). Jeffrey Scudder (b. 1989) is an artist, coder, gamer, and educator from Assonet, MA, who received a BFA from Ringling College of Art + Design (2011) and an MFA in Sculpture at the Yale School of Art (2013). He has given performance lectures and taught courses about media art, software, and human-computer interaction at UCLA, the Parsons New School for Design, and as an assistant professor of emerging media and digital art at Southern Oregon University. He also keynoted India HCI and Korea HCI in 2019. Camille Klein (b. 1996) is a visual artist from Portland, Oregon. She found her expressive voice making collages as an illustrator for the alt teen magazine Rookie from 2013-2015. At Oberlin College, where she received a BA in studio art (2018), she started making sculptures, textiles, and paintings. Her work develops new relationships between shapes, materialities, and terrains of emotional experience. Alex Freundlich (b. 1997) is an artist, musician, and snail breeder (heliciculturalist) from Los Angeles, CA. He received a BA in Studio Art at Oberlin College (2019), and lectured at DWeb Camp and the SF Art Book Fair in 2019. Recently, Freundlich has produced paintings in his exploration of new strategies for making pictures using traditional, digital, and unconventional materials. He makes music under the name Song Hope Spring Book.

0xDEAFBEEF is an artist and engineer based in Toronto, Canada. Over the past 20 years he has been tinkering in diverse areas overlapping art and technology including music, sound recording, computer animation, blacksmithing, and generative art. He received his BASc in electrical engineering and MSc from the University of Toronto, where he contributed to internationally recognized research in the field of computer animation. As a classically trained musician with a strong background in sound technology, he brings together all of his interests in a bespoke art practice, using low-level computer code and a minimal toolset to craft raw information into audiovisual artworks. His recent generative works explore the unique affordances of programmable blockchains as both subject and medium.

VNS MATRIX is an artist collective founded in Adelaide, Australia, in 1991, by Josephine Starrs, Julianne Pierce, Francesca da Rimini, and Virginia Barratt. Taking their point of departure in a sexualised and socially provocative relationship between women and technology, their works subversively question discourses of domination and control in the expanding cyber space. They are credited as being the first artists to use the term cyberfeminism and are generally regarded as the founders of the international cyberfeminist movement, alongside their highly influential 1992 text and artwork “A Cyberfeminist Manifesto for the 21st Century.” During the 1990s, VNS Matrix was invited to exhibit internationally. Australian galleries also recognized the work of VNS Matrix with exhibitions at Experimental Art Foundation (1993), Artspace Sydney (1994), Australian Center for Contemporary Art Melbourne (1995) and more. The work of VNS Matrix has been written about extensively in Art+Text, Wired, Flash Art, and Artlink, among many others. They are studied in universities across the world and are written about in scholarly, art, and popular culture publications. In 2016, VNS Matrix celebrated their 25th anniversary with the performance of a new text, “A Tender Hex for the Anthropocene.” Since this milestone their work has continued to be exhibited at museums and galleries, including Rhizome at New Museum New York, Institute of Contemporary Art London, and Migros Gallery Zurich, among many others.

INTERNET ARTIST SINCE 3001 *///////// FATHER OF MULTIDIMENSIONAL ENTITIES EXPLORING TIME, CONSCIOUSNESS, AND THE EDGES OF SYNTHETIC OBJECTS THROUGH GENERATIVE ART. p1xelfool is an artist from São Paulo who quickly rose to prominence in 2021 for his code-based artworks. Released mostly as animated GIFs and real-time code, p1xelfool’s works are conceptualized with Processing, an open-source and community-led creative coding software. His practice distinctively renders 3D geometric systems as pixelated 2D animations that may be suggestive of scientific diagrams, particle simulations, and otherworldly entities. Despite such evocations, the artist has no intention of referencing the (super) natural world. He is instead intent on creating a visual sphere specific only to the computer; his works exist in their own dimension. p1xel often mentions his interest in the perception of time/space — and its (de)construction — as a starting point for his computational art. In his words: “Do screens, pixels, and code engender a specific ontology, or (inter)subjectivity?” p1xelfool is also known for his community-driven initiatives such as BRG.exe, a foundation investing in and supporting Brazilian generative and digital artists.

Laleh Mehran was born in Iran and relocated with her family to the United States at the start of the Iranian Islamic Revolution. Mehran creates elaborate environments in digital and physical spaces focused on the complex intersections between politics, belief systems, and science. In a political climate in which certain views are increasingly suspect and can have extreme consequences, Mehran’s artworks are invitations to think again about each of these paradigms and the profound connections that bind them. Mehran received her MFA from Carnegie Mellon University. Her work has been shown individually and collaboratively across the U.S. and international venues including the ISEA (United Arab Emirates), National Taiwan Museum of Fine Arts (Taiwan), FILE (Brazil), ACT Festival (South Korea), MASS MoCA (Massachusetts), Mattress Factory Museum (Pennsylvania), Carnegie Museum of Art (Pennsylvania), The Georgia Museum of Art (Georgia), The Andy Warhol Museum (Pennsylvania), Denver Art Museum (Colorado), Biennial of the Americas at MCA Denver (Colorado), 404 International Festival of Art & Technology (Argentina), European Media Arts Festival (Germany), Boulder MCA (Colorado), and Currents: The Santa Fe International New Media Festival (New Mexico). Mehran is a professor of emergent digital practices at the University of Denver.

Gene Kogan is an artist and programmer with interests in generative art, collective intelligence, autonomous systems, and computer science. He codes, gives talks, teaches workshops, records lectures and tutorials, writes essays, and occasionally curates.

Zach Blas is an artist, filmmaker, and writer whose practice spans installation, moving image, computation, theory, and performance. Blas engages the materiality of digital technologies while also drawing out the philosophies and imaginaries lurking in artificial intelligence, biometric recognition, predictive policing, airport security, and the internet. In recent projects like “The Doors” (2019), Blas imagines a new psychedelic age fueled by AI, nootropics, and tech culture. In “SANCTUM” (2018), a sex dungeon-cum-detention recasts security and surveillance through BDSM. Blas has exhibited, lectured, and held screenings at venues internationally, including the 12th Berlin Biennale, de Young Museum, British Art Show 9, Tate Modern, Walker Art Center, 12th Gwangju Biennale, the 68th Berlin International Film Festival, Matadero Madrid, Los Angeles County Museum of Art, ICA London, Van Abbemuseum, e-flux, ZKM Center for Art and Media, and Museo Universitario Arte Contemporáneo. His 2021 artist monograph Unknown Ideals was published by Sternberg Press and Edith-Russ-Haus für Medienkunst. Blas is an assistant professor of visual studies in the Daniels Faculty of Architecture, Landscape, and Design at the University of Toronto.

john gerrard is widely regarded as a key figure in the development of simulation within contemporary art. Deceptively looking like film or video, his works are virtual worlds, made using real-time computer graphics, a technology developed by the military and now used extensively in the gaming industry. Recent exhibitions include Surrender (Flag) 2023 at Hayward Gallery, London, Western Flag at Dark MOFO, Tasmania, NGV Triennial 2023, National Gallery of Victoria, Australia. Plásmata II, Onassis Foundation, Greece, Corn Work at Galway International Arts Festival, travelling to Gwangju Biennial; X. Laevis at Okayama Art Summit, Japan; Western Flag at Museo Thyssen Bornemisza, Madrid; Solar Reserve, LACMA, Los Angeles, USA; Western Flag, Somerset House with Channel 4, London, England,; Power. Play, Ullens Centre for Contemporary Art, Beijing, China; and Solar Reserve, Lincoln Center in Association with the Public Art Fund, New York, New York. Gerrard's work is in the collection of Tate, London; MoMA, New York; SFMOMA, San Francisco; LACMA, Los Angeles; Hirshhorn Museum and Sculpture Garden, Washington; Kistefos Collection, Norway; IMMA, Dublin; Borusan Contemporary, Istanbul; M+, Hong Kong and many private collections internationally. His work Western Flag (2024) was the first tokenized artwork (NFT) to enter LACMA's permanent collection. John Gerrard received a BFA from Oxford University in 1997 and an MFA from the School of the Art Institute of Chicago in 2000. He is represented by Pace Gallery globally.

Auriea Harvey is a Rome-based artist whose practice encompasses virtual and tangible sculptures, drawings, and simulations while blending digital and handmade production. She is primarily concerned with making the mythological world visible through form, interaction, and immersion. Her works are a synthesis of art historical reference and imagination, and she is engaged across time, media, and material to define what sculptural production means in the present moment. Harvey is half of the award-winning artist duo known as Entropy8Zuper!/Tale of Tales/Song of Songs, known for their pioneering works in internet art, video games, and mixed reality. Her work can be found in the permanent collections of institutions such as the Whitney Museum of American Art, Buffalo AKG Art Museum, Walker Art Center, KADIST Collection, RF.C Collection, and Rhizome’s Net Art Anthology. Her video games and VR works have been featured internationally within exhibitions at the Tinguely Museum, Basel; the Victoria & Albert Museum, London; the New Museum, New York; Brooklyn Academy of Music, New York; and ZKM, Karlsruhe.

LaTurbo Avedon is an avatar and artist, creating work that emphasizes the practice of non-physical identity and authorship. Avedon has spent the past decade developing a body of work that illuminates the ever-growing intensity between users and the virtual, pursuing creative environments that deepen the meaning of immaterial experiences. They curate and design Panther Modern, a file-based exhibition space that encourages artists to create site-specific installations for the Internet. LaTurbo’s process of character creation continues through gaming, performance and exhibitions. Their work has been exhibited and collected internationally.

Peter Burr is an artist from Brooklyn, NY. A master of computer animation with a gift for creating images and environments that hover between abstraction and figuration, Burr has recently devoted himself to exploring the concept of “an endlessly mutating labyrinth.” These pieces have been presented internationally by various institutions including Documenta 14, Athens; MoMA PS1, New York; and The Barbican Centre, London. Burr’s practice often engages with tools of the video game industry in the form of immersive cinematic artworks. Previously, Burr worked under the alias Hooliganship and founded the video label Cartune Xprez through which he produced hundreds of live multimedia exhibitions and touring programs, which showcased a multi-generational group of artists at the forefront of experimental animation. His practice has been recognized through grants and awards including a Guggenheim Fellowship, a Creative Capital Grant, and a Sundance New Frontier Fellowship.

First formed as AES Group in 1987 by Tatiana Arzamasova, Lev Evzovich, and Evgeny Svyatsky, the collective became AES+F when Vladimir Fridkes joined in 1995. AES+F work at the intersection of traditional media, photography, video, and digital technologies. They define their practice as a “social psychoanalysis” through which they reveal and explore the values, vices, and conflicts of contemporary global culture. AES+F achieved worldwide critical acclaim in 1999 for their “Islamic Project,” which depicted various Western postcard city landscapes manipulated to appear colonized by Islam. AES+F cemented their reputation as a contemporary art powerhouse in the Russian Pavilion at the 52nd Biennale di Venezia in 2007 with their provocative “Last Riot,” the first of their now signature large-scale, multichannel video installations. Following a large survey exhibition in 2007 at The State Russian Museum in St. Petersburg, AES+F's next three large video installations titled “The Feast of Trimalchio,” “Allegoria Sacra,” and “Inverso Mundus” debuted at the 53rd Venice Biennale, 4th Moscow Biennale, and 56th Venice Biennale, respectively. The group has had more than 100 solo exhibitions at museums, exhibition spaces, and commercial galleries worldwide.

Multimedia artist Lu Yang creates fantastical, often painful, and shocking images which represent an interdisciplinary blend of religion, philosophy, neuroscience, psychology and modern technology, as well as the allusions to real life forms and structures of natural and religious origin. The output of Lu Yang’s artistic practice spans game engines, 3D-animated films, video game installations, holograms, motion capture performances, virtual reality and software manipulation. The artist also collaborates with acclaimed scientists, psychologists, performers, dancers, experimental composers, music producers, robotics companies and pop stars. Lu Yang graduated with a BA and MA from the New Media Art department of the China Academy of Art in Hangzhou. Their work has been featured in major museums and institutions internationally, Lu Yang participated in the 2022 Venice Biennale. Recent solo exhibitions are at: Kunsthalle Basel, Basel, Switzerland (2023); Zabludowicz Collection, London, UK (2022-23); PalaisPopulaire, Berlin, Germany (2022 - 23); ARoS Aarhus Art Museum, Aarhus, Denmark (2021–22); Spiral, Tokyo, Japan (2018); M WOODS, Beijing, China (2017–18); MOCA Cleveland, Cleveland, USA (2017); Ullens Center for Contemporary Art (UCCA), Beijing, China (2011); and Fukuoka Asia Art Museum, Fukuoka, Japan (2011). Recent works in large-scale thematic exhibitions include The Milk of Dreams, 59th Venice Biennale 2022; Asia Society Triennial 2021, New York; Centre Pompidou, Paris (2020); Shanghai Biennale 2018 and 2012; Athens Biennale 2018; Liverpool Biennial 2016; Montreal International Digital Art Biennial 2016; 56th Venice Biennale 2015 (Chinese Pavilion); and Fukuoka Asian Art Triennale 2014.LuYang was awarded the BMW Art Journey in 2019, following which they commenced the making of a new digital body of work titled DOKU. They are also the winner of the Deutsche Bank Artist of the Year 2022 award.

Amelia Winger-Bearskin is a Banks Family Preeminence Endowed Chair and Associate Professor of Artificial Intelligence and the Arts at the Digital Worlds Institute at the University of Florida. She is also the founder of the AI Climate Justice Lab, the Talk To Me About Water Collective, and the Stupid Hackathon. In 2022 she was awarded a MacArthur Foundation Award as part of the Sundance AOP Fellowship cohort for her project CLOUD WORLD / SKYWORLD, which was part of The Whitney’s Sunrise/Sunset series. In 2021 she was a fellow at Stanford University as their artist and technologist in residence, made possible by the Stanford Visiting Artist Fund in Honor of Roberta Bowman Denning (VAF). In 2020 she founded Wampum Codes, an award-winning podcast and an ethical framework for software development based on indigenous values of co-creation. In 2019 she was a delegate at the Summit on Fostering Universal Ethics and Compassion for His Holiness, The 14th Dalai Lama, at his World Headquarters in Dharmsala, India. In 2018 she was awarded the 100k Alternative Realities Prize for her Virtual Reality Project: Your Hands Are Feet from Engadget and Verizon Media. This was also the year that nonprofit IDEA New Rochelle won the $1 Million Bloomberg Mayor’s Challenge for their VR/AR Citizen toolkit to help the community co-design their city. Amelia is an enrolled member of the Seneca-Cayuga Nation of Oklahoma, Deer Clan on her mother’s side; her late father was Jewish/Baha'i.

Lee Mullican was born in 1919 in Chickasha, Oklahoma and died in Los Angeles in 1998. Upon his graduation from the Kansas City Art Institute in 1942, Mullican was drafted into the army, serving four years as a topographical draftsman before moving to San Francisco in 1946. After winning a prestigious Guggenheim Fellowship in 1959, he spent a year painting in Rome before returning to Los Angeles where he joined the UCLA Art Department in 1961, keeping his position for nearly 30 years. He divided the later part of his life between his homes in Los Angeles and Taos, traveling internationally and co-organizing exhibitions at UCLA. A retrospective spanning 50 years of the artist’s work was organized by the Los Angeles County Museum of Art in 2005. Mullican is in the permanent collections of the Museum of Modern Art, New York; the San Francisco Museum of Art; the Metropolitan Museum of Art; the Museum of Contemporary Art, Los Angeles; and the Los Angeles County Museum of Art, among others.

Ana María Caballero Ana María Caballero is a Colombian-American poet and artist. Her multiple award-winning work explores how biology delimits societal and cultural rites, ripping the veil off romanticized motherhood and questioning notions that package sacrifice as a virtue. She’s the recipient of the Beverly International Prize, Colombia’s José Manuel Arango National Poetry Prize, the Steel Toe Books Poetry Prize, and a Sevens Foundation Grant. Her Pushcart Prize and Best of the Net-nominated work has been sold at live auction, published in top literary outlets and exhibited internationally. She’s the author of the chapbooks Reverse Commute and mid-life. In 2022 she published her first digital book TRYST. She published a full-length poetry collection Entre Domingo y Domingo and A Petit Mal, a nonfiction manuscript, in 2023 and will be publishing Mammal in 2024. Widely recognized as a web3 poetry pioneer for her own innovative work, she’s also the co-founder of digital poetry gallery theVERSEverse. Nancy Baker Cahill Nancy Baker Cahill is an award-winning interdisciplinary artist whose hybrid practice focuses on systemic power, consciousness, and the human body. She creates research-based immersive experiences, video installations, and conceptual blockchain projects rooted in the history of drawing. Her monumental augmented reality (AR) artworks extend and subvert the lineage of land art, often highlighting the climate crisis, civics, and a desire for more equitable futures. She is the founder and artistic director of 4th Wall, a free AR public art platform exploring site interventions, resistance, and inclusive creative expression. She has exhibited internationally at museums and galleries, and her solo exhibition Slipstream: Table of Contents was recently acquired by LACMA. In 2023, she will have her first solo mid-career retrospective exhibition at the Georgia Museum of Art which will travel in 2024. In addition, The Whitney Museum has commissioned and will acquire an Artport video and AR installation, launching in the fall of 2023.

Rick Silva is a Brazilian-American artist whose videos, websites, and installations explore virtuality, futurology, and speculative ecologies. His work has been exhibited at institutions including The Centre Pompidou, Crystal Bridges Museum of American Art, The Modern Art Museum of Fort Worth, and The Whitney Museum of American Art. He has been featured in Artforum, Wired, and Rhizome’s Net Art Anthology. He lives in Eugene, Oregon where he is an Associate Professor at The University of Oregon.

Kim Asendorf is a German visual artist who works with conceptual strategies and generative systems to create abstract animations, images and sculptures. The pixel is the main building block in Asendorf's work, seemingly alive in his abstractions, or rearranged in his iconic Pixel Sorting aesthetics. His abstract visual systems are conceptually set and realized in algorithms that are open to a wide range of interpretations. He is working on a per-pixel level to create worlds that mix simplicity with complexity, that never sleep, and that can put the viewer in a mesmerizing state. He loves to experiment, is driven by curiosity, and finds satisfaction when the results of his work surprise himself. With roots in Net Art, he likes to keep his work easily accessible, and the Internet is his favorite canvas.

Serwah Attafuah is a multidisciplinary artist and musician based on Dharug land/West Sydney, Australia. She creates surreal cyber dreamscapes and heavenly wastelands, populated by afro-futuristic abstractions of self with strong ancestral and contemporary themes. Serwah has collaborated with and been commissioned by clients including Mercedes Benz, Nike, GQ, Adobe, Paris Hilton, and Charli XCX. Recent notable achievements include her participation in Sotheby’s Natively Digital: A Curated NFT Auction and Apotheosis: a live motion capture experience with Soft Centre at The Sydney Opera House.