Interview: Hans Ulrich Obrist, Serpentine artistic director, on AI, art and the critical role of cultural spaces

Left to right: Roman Ole, Evelyn Saylor, Jules Left to right: Roman Ole, Evelyn Saylor, Jules LaPlace, Holly Herndon, Josa Peit, Mathew Dryhurst and Albertine Sarges (C) Boris Camca 2019, curtesy of Holly Herndon
Left to right: Roman Ole, Evelyn Saylor, Jules Left to right: Roman Ole, Evelyn Saylor, Jules LaPlace, Holly Herndon, Josa Peit, Mathew Dryhurst and Albertine Sarges (C) Boris Camca 2019, curtesy of Holly Herndon

I had an interesting conversation with Hans Ulrich Obrist, the curator and art critic, and artistic director of Serpentine about the age of AI. The cultural institution is deep diving into the world of AI with its support of digital artists as well as through various research projects and papers that investigate the impact (positive and negative) of the technology on the arts and artists.

I asked him what he sees as the role of museums and cultural institutions in engaging the public in understanding the impact of AI on our lives, acting as a bridge to almost demystify it for the public. He replied: “Technology often creates separation. Social media creates filters. With art we can hopefully break that filter bubble, and be an intermediator between culture, art, science, technology. It’s about togetherness.”

Full interview here

Serpentine Pavilion 2024 by architect Minsuk Cho is a joyful concept, full of intrigue and surprise

Serpentine Pavilion by Minsuk Cho. Image (c) Iwan Baan for Serpentine Galleriies

The 2024 Serpentine Pavilion is imagined as a cluster of islands with each structure unique in its size, form, feel and function. The creative work of Seoul-based Korean architect Minsuk Cho and his firm Mass Studies, Archipelagic Void is a refuge for park strollers, and it acts as a space to host and elevate visitor experiences during Serpentine Galleries’ lively program of events that run from June to October. Take a look here

Swiss artist Silvia Bächli makes a musical score at Centro Botín in Santander

Silvia Bächli ‘Partitura‘ (c) Centro Botín

Centro Botín in Santander, Spain is presenting Swiss artist Silvia Bächli’s latest body of work in dialogue with her earlier drawings. Co-curated by Bächli and Bárbara Rodríguez Muñoz, as its title Partitura (musical score) suggests, the exhibition has been conceived much like sheet music for the gallery space. It features new work Farbfeld (color fields)a wall installation made in collaboration with Swiss visual artist Eric Hattan, as well as works from Bächli’s presentation at the 53rd Biennale di Venezia Swiss Pavilion.

Read my interview here

Silvia Bächli ‘Partitura‘ (c) Centro Botín

New York Artist Julie Mehretu discusses her approach to the BMW Art Car #20

Julie Mehretu and the BMW Art Car #20. Photo credit BMW

‘There is something investigatory and playful about motor racing. It’s a form of sport, a form of imagination, a form of creativity. It’s an important place in the imagination. I was fascinated to play in that place,’ says the Ethiopian American artist Julie Mehretu speaking of the latest BMW Art Car #20 she designed for the carmaker before it hits the racetrack at the 24 Hours of Le Mans.

Read the full interview here

Personal Structures biennial art exhibition in Venice addresses intricate narratives within our global community

Maisara Baroud ‘I’m Still Alive’ at Foreigners in their Homeland by Palestine Museum US. Personal Structures 2024, Palazzo Mora. Photo credits Federico Vespignani for Personal Structures

“With Personal Structures, even the most minimalist works are subjective, personal, the result of the artist’s own conditions and circumstances,” says Sara Danieli, head of art at European Cultural Centre, the independent organisation that runs the biennale contemporary art exhibition Personal Structures in Venice. “In this sense, we conceive the exhibition as a platform that values the diversity of artistic approaches and expressions, with the intention of documenting plurality.”

In its seventh edition and running alongside though independent of the official la Biennale di Venezia, the 200 artists from 51 countries exhibiting at the historic Venetian palazzos Bembo and Mora and Marinaressa Gardens individually and collectively reflect on the intricate narratives within our global community.

There is so much to see and so much to take in at Personal Structures. Many of these artists are not represented within global institutions. These are different voices with varied experiences who together form a much-needed layered set of conversations around what it is to be human. All this is thanks to Personal Structure’s unwavering commitment to maintaining an open platform by avoiding the didactic route, allowing individual artistic circles self expression and curational autonomy to speak more fluidly—a concept often missing from such large group shows.

Take a closer look here and see my interview with Sara Danieli here