Partnering with artists defining the digital age

Sougwen Chung

Sougwen 愫君 Chung is a Chinese-Canadian artist and researcher, widely regarded as a pioneer in human–machine collaboration. Their work MEMORY (Drawing Operations Unit: Generation_2) is part of the permanent collection of the Victoria and Albert Museum, the first AI model to be collected by a major cultural institution. Chung's multidisciplinary practice spans installation, drawing, performance, and sculpture in dialogue with robotics, machine learning, and bio-sensing. Through these interwoven forms, they investigate the shifting relationships between the gesture of the hand and the gesture of the machine. Their work conceives collaboration as an evolving coaesthetic system, in which human, machine, and environment co-produce open choreographies of perception and meaning. Since 2015, Chung has developed the Drawing Operations series, a landmark inquiry into the aesthetics of symbiosis between human and machine. From robotic mimicry of drawing gestures, to neural networks trained on two decades of drawing data, to EEG-driven biofeedback performances, and dimensional mark-making, the project maps a decade-long evolution of interspecies authorship.<ReadMore> In 2025, Chung's research centres on metamorphic systems. Through experimental robotics, biosynthetic materiality, and silk circuitry — drawing on the emergent properties of silk produced by live silkworms — Chung reframes embodiment through meditation, machine gestures, and organic computation. Chung has been named one of TIME’s 100 Most Influential People in AI and honored with their Global Impact Award. They have been recognized as a Cultural Leader at the World Economic Forum, and celebrated for excellence in the Arts & Sciences as Woman of the Year in Monaco. Their accolades include the Lumen Prize for Art in Technology, the Japan Media Arts Excellence Award for Drawing Operations, and a notable commission for Omnia per Omnia. Chung was also the inaugural E.A.T. Artist in Residence in partnership with the New Museum and Bell Labs. Their work has been exhibited internationally at institutions including the Victoria and Albert Museum (London), The Drawing Center, Mana Contemporary and The New Museum (New York),National Art Center (Tokyo), Haus der Kunst (Munich), ArtScience Museum and Singapore International Festival of Arts (Singapore), Vancouver Art Gallery (Vancouver), MIT Media Lab (Boston), Minsheng Art Museum (Shanghai), Espoo Museum of Modern Art (Espoo) and Art Basel (Miami), among others. Chung’s practice has been profiled in The New York Times, The Art Newspaper, Art in America, Sursuma Magazine, BBC, Yishu, and TIME Magazine, and they have spoken at forums including TED, World Science Festival, Global Art Forum, UNESCO, the United Nations, and the World Economic Forum. Additionally, Chung is the founder of SCILICET, an experimental studio based in London.

john gerrard

john gerrard is a pivotal figure in the development of simulation within contemporary art. The artist’s works are real-time digital simulations built with game-engine technology, occupying an uncanny territory between documentary precision and technological mediation. Neither film nor video, the works are autonomous virtual worlds that unfold according to their own internal logic, some synchronised to actual solar and atmospheric conditions, others driven by algorithmic choreography, others reconstructing historical moments within contemporary landscapes. For more than two decades, gerrard's practice has examined the hidden architectures of contemporary power: the industrial structures, energy networks, and algorithmic systems that underpin modern existence yet remain largely invisible to those who depend on them. From the factory farms of Oklahoma to the data centres of middle America, from the solar thermal plants of the Nevada desert to the oil fields of Spindletop, Texas, gerrard renders visible the material substrates of a networked world. Work is held in the permanent collections of the Museum of Modern Art, New York; Tate, London; Centre Pompidou, Paris; the Los Angeles County Museum of Art; the Van Abbemuseum, Eindhoven; and other major institutions. Multiple works are held in LACMA's permanent collection including washington.stream, Solar Reserve (Tonopah, Nevada), and World Flag. gerrard was recipient of the Art + Technology Lab Grant at LACMA in 2017, producing Neural Exchange, an early exploration of art, performance and AI neural networks. Major presentations include Channel 4's Earth Day broadcast, 2017; Somerset House, London, 2017; Desert X (Palm Springs), 2019; the Museo Thyssen-Bornemisza, Madrid, at COP25, 2019; Okayama Art Summit, Japan, curated by Pierre Huyghe; Dark Mofo, Tasmania, 2023; the Hayward Gallery, London, 2023; U2:UV Achtung Baby Live at Sphere, Las Vegas, 2023; and the Folkestone Triennial, 2025. A current commission, SPIRITS, unfolds across LACMA from December 2025 through December 2026.

Holly Herndon and Mat Dryhurst

Holly Herndon and Mat Dryhurst are Berlin-based artists known for their innovative use of machine learning, artificial intelligence (AI), and decentralized systems in art and music. Their collaborative practice spans a range of media, from AI-generated performances and installations to protocol development that challenges existing power structures in the digital space. Their work frequently examines the intersection of human creativity and AI. One of their most prominent projects, Holly+ (2021), is an AI clone of Herndon's voice that can be used by the public, embodying a counter-narrative to AI extractivism and exploring ideas of "vocal sovereignty." This project has been presented at major venues including Sonar Festival and TED. The duo’s musical work includes critically acclaimed albums Platform (2015) and PROTO (2019), released through 4AD, which have been performed at prestigious venues such as the Barbican in London and Volksbühne in Berlin. Their visual art practice includes groundbreaking NFT series like Infinite Images (2021/22) and the recent exhibition at the 2024 Whitney Biennial, where they showcased xhairymutantx, an AI-driven interactive installation that challenges identity in the age of generative models. In addition to their artistic output, Herndon and Dryhurst co-founded Spawning, an organization dedicated to building ethical AI tools, and host the Interdependence podcast, which explores the intersections of AI, music, and blockchain technologies. Recognized as some of the most influential voices in AI, they were named in TIME’s 100 Most Influential Voices in AI and awarded the first Digital Human Rights Award by the Austrian government.

Elman Mansimov

Elman Mansimov is a Senior Applied Scientist residing in New York City. He completed his Ph.D. at New York University under the guidance of Kyunghyun Cho. His doctoral thesis centered around iterative refinement as a comprehensive approach for structured prediction, with specific applications to machine translation and molecule generation. Prior to his doctoral studies, at the age of 15 he started an undergraduate degree in Computer Science at the University of Toronto, where he was supervised by Ruslan Salakhutdinov. During this period, Mansimov led a team of developers who created alignDRAW, widely credited as the first text-into-image generation model. The artwork from alignDRAW was first published in the academic paper, ‘Generating Images from Captions with Attention’, in 2015. In Feb 2024, The Worcester Art Museum announced their acquisition of 3 alignDRAW artworks.

Trevor Paglen

Trevor Paglen is known for investigating the invisible through the visible, with a wide-reaching approach that spans image making, sculpture, investigative journalism, writing, engineering, and numerous other disciplines. The clandestine and the hidden are revealed in series such as The Black Sites, The Other Night Sky, and Limit Telephotography in which the limits of vision are explored through the histories of landscape photography, abstraction, Romanticism, and technology. Paglen’s investigation into the epistemology of representation can be seen in his Symbology and Code Names series which utilize text, video, object, and image to explore questions surrounding military culture and language. Among his chief concerns are learning how to see the historical moment we live in and developing the means to imagine alternative futures. Paglen has had numerous one-person exhibitions, including at the Museum of Contemporary Art San Diego (2019); Frankfurter Kunstverein, Frankfurt (2015); Eli & Edythe Broad Art Museum, Michigan State University, East Lansing (2015); Protocinema Istanbul (2013); Van Abbemuseum, Eindhoven, Netherlands (2013); and Vienna Secession (2010). He has participated in group exhibitions at the San Francisco Museum of Modern Art (2008, 2010, 2018); Museo Nacional Centro de Arte Reina Sofía, Madrid (2014); The Metropolitan Museum of Art, New York (2012); Tate Modern, London (2010), and numerous other institutions.

Rafaël Rozendaal

A Dutch-Brazilian artist based in New York, Rafaël Rozendaal trained at the Academie Beeldende Kunsten in Maastricht, graduating in 2002, after a childhood spent in the studios of his artist parents. Since the early 2000s he has worked primarily on the open web, treating the browser as a pictorial field and code as a material on par with paint. His earliest pieces, single-purpose websites such as paper toilet .com (2006) and jello time .com (2007), set the terms of a practice that has since expanded across lenticulars, tapestries, installations, NFTs, and, since 2023, painting, with each medium routed back through a fascination with screen-bound motion and interactivity. Rozendaal is most often associated with a market gesture as much as an aesthetic one: his websites are sold by transferring the domain to a collector, whose name appears in the browser's title bar, while the work itself remains publicly accessible at its URL. The Whitney, the Stedelijk, the Centre Pompidou, the Hammer, the New Museum, and the Nam June Paik Art Center are among the institutions that have shown or acquired his work, alongside a Times Square Midnight Moment and a presentation at the Venice Biennale. In 2010 he founded BYOB (Bring Your Own Beamer), an open-source exhibition concept that has since traveled to more than a hundred venues. In 2024 the Museum of Modern Art presented Light: Rafaël Rozendaal, organized by Paola Antonelli and Amanda Forment for the Hyundai Card Digital Wall in the Agnes Gund Garden Lobby (November 2024 through September 2025). The installation sampled a rotating selection of his animations on a screen measuring nearly twenty-five feet across, with the entire exhibition occupying 135 kilobytes of code, a scale that has become characteristic of his economy of means. MoMA's collection now holds seven works by the artist.

john gerrard

Art|Basel June 2026

Jun 16 - 21, 2026

Messeplatz Event Hall, Basel

Sougwen Chung

Art|Basel HK 2026

March 2026

Hong Kong Convention Center

Iskra Velitchkova

I See Generative, Chapter 0: Wind

March 2026

London