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MAGAZINE

AI BIENNALE, ESSEN

REIMAGINE TOMORROW, 1954–2024

17–24 NOVEMBER 2024 | AI BIENNALE, ESSEN

REIMAGINE TOMORROW, 1954–2024. AI IN CONTEXT #2

GENERATIVE PHOTOGRAPHY REVISITED. FROM LIGHT TO CODE

GOTTFRIED JÄGER AND HEIN GRAVENHORST | GALLERY

16 OCTOBER – 5 NOVEMBER 2024 | GALLERY

GOTTFRIED JÄGER AND HEIN GRAVENHORST: GENERATIVE PHOTOGRAPHY REVISITED. FROM LIGHT TO CODE

HIGHLIGHTS

"Another GAN feedback loop that generates faces from scratch. 
This new version uses an additional model that allows for a 1024x1024 output and adds more details like skin texture, eyebrows and eyelashes. There are still several technical issues that I need to find a solution for, like for example the repetitive patterns that appear in low-entropy areas."
– Mario Klingemann, <a href="https://www.youtube.com/watch?v=5h4R959O0cY">11 November 2017</a>
The NFT is minted after the sale through the artist's smart contract.

Face Feedback III

ARTIST

EXHIBITION

Born in the 1980s, during the nation-building years of Singapore, the artist behind Niceaunties experienced a childhood shaped by the influential women in their family. From infancy to the age of nine, they lived with grandparents, aunties, and uncles while their parents worked. This upbringing was heavily influenced by the women of the household, as cultural norms dictated their primary role in childcare. Their early life was marked by the presence of remarkable women, including a great-grandmother who had experienced bound feet, a grandmother who transitioned from a life dedicated to kitchen duties to two decades of bedridden existence, and a sociable mother, along with eleven aunties. These women, embodying a spectrum of suppressed talents, passions, and dreams, were a mix of strange, funny, mean, and kind personalities, fueling the narrative of Niceaunties. The exhibition AUNTIEDOTE builds on the AUNTIEVERSE series, spotlighting auntie culture's unique take on beauty and fashion. The videos offer a glimpse into the day-to-day life within the AUNTIEVERSE, highlighting the endearing and quirky behaviors that define auntie culture. From their distinctive approach to fashion to their unconventional beauty hacks, these narratives celebrate the individuality and influence of aunties. The accompanying prints encapsulate these themes, providing a static reflection of the dynamic world of aunties. AUNTIEDOTE is an invitation to explore and appreciate the rich tapestry of auntie culture, with all its charm and eccentricity, and its impact on the broader spheres of beauty and fashion. 
<div class="artworkDescription_text__L0d0d">
<div class="textWithBoldFirstSentence_text__GK_Xz">
<div class="textWithBoldFirstSentence_paragraph__G_jJY">This AI film reveals the coming-of-age story behind the enigmatic falling garlic on the runway in AUNTIEVERSE. Forever etched in the spectators' minds as the comedic character of the AUNTIEVERSE, the garlic became famous due to a tripping mishap on the fashion catwalk while attempting to show off its jumping skills. Despite its unconventional dream of becoming a model, which is quite atypical for a garlic, the aunties rallied around the creature, supporting it in achieving its aspirations. 
</div>
<div class="textWithBoldFirstSentence_paragraph__G_jJY">This film highlights the vulnerability involved in presenting one's work to the public and facing criticism, while spectators may not be aware of the challenges and efforts that go on behind the scenes.</div>
<div class="textWithBoldFirstSentence_paragraph__G_jJY"> </div>
<div class="textWithBoldFirstSentence_paragraph__G_jJY">This AI film was created, animated, and edited by Niceaunties in the programs Dalle3, magnific.ai, Runwayml, and Suno.ai. 
</div>
<div class="textWithBoldFirstSentence_paragraph__G_jJY">Sound design by Niceaunties, AI-generated music by Niceaunties.</div>
</div>
</div>

Auntiedote: Aioli Times

SEED THEORY by Chinese-Canadian artist Sougwen Chung is a series seeded from human movement, glacial textures, and the Earth as seen from above.
SEED THEORY draws inspiration from the research of the late microbiologist Lynn Margulis. Her pioneering theory of planetary symbiosis—and the Earth as a co-creative and co-regulatory system—challenges conventional views of human beings and technology as separate from nature. In her work, the Earth is a self-regulating complex system involving the biosphere, the atmosphere, the hydrosphere, and the pedosphere, tightly coupled as an evolving system.
In SEED THEORY, the components of Margulis’ Gaian system—the biosphere, atmosphere, hydrosphere, and pedosphere—are collated into a training model of views of satellites from the Earth's exosphere. They are recomposed as terrains. Each work in the SEED THEORY series is composed of a terrain and an organism. The foregrounded sculptural, organic lines wind through the images, referencing a sensuous cybernetic organism in form and texture. The organism is a construction of interweaving human gestural data and textures from the biosphere captured during the artist's recent field research in the Arctic. The organism and the terrain collapse vantage points of geographic scales, their contours unbound, oscillating perspectives of figure and ground. The work speculates on a possible future in which technology is not extractive of nature but an integrated, regenerative component of it.
The themes in SEED THEORY continue the artist's research in alternative constructions of human, machine, and ecology. The work integrates gestures from the artist's Meridian dataset—part of the training data for the next generation of the collaborative drawing system D.O.U.G.
The SEED THEORY series was incubated during the Ignota Books residency, focused on Lynn Margulis and Gaian Systems, and further explored during a research seminar hosted by The Gaia Art Foundation in 2022.

Seed Theory: Terrain 1

NEVERENDING STORIES by Boris Eldagsen is a collection of 13 AI-generated videos based on images that the artist generated in weeks of experiments. They were then animated, extended and cut into a loop in a video program. Eldagsen also generated the music as his own version of Doom Jazz. 
NEVERENDING STORIES feels like you’ve wandered into a Hammer horror film on the brink of total existential collapse. The visuals pulse between memory and nightmare — absurd spaces and strange figures that come and go like half-forgotten thoughts. It’s as if Tarkovsky’s STALKER got hijacked by Camus. Like a Sisyphean Cycle of coming back to the same place but never quite arriving, the loop stands in for both an escape and a trap.
From the first flickering image, you’re thrust into a disorienting space that feels more like a mental landscape than a physical one. The human form is present but always distant, always dissolving—like a memory that never fully belonged to you. Scenes jump and flicker, almost like the film itself is being erased as it’s playing. Eldagsen isn’t interested in comforting the viewer. The visuals pulse with a rhythmic unease, blurring the line between reality and a half-remembered nightmare. It’s as if you’re trapped in the liminal space between waking and sleeping, where everything feels both familiar and terrifyingly unfamiliar.
Beckett would have loved these videos. It’s existentialism with a gothic twist, touching on the absurdity of trying to connect with or searching for something. Whatever is searched for — it’s always slipping away. NEVERENDING STORIES doesn't just ask what it means to belong; it makes you question whether you were ever truly there to begin with.
"NEVERENDING STORIES were created as an impulse for an inner journey. As a viewer, ask yourself what memories, emotions, and thoughts are triggered and why. As a child of the 1970s, I grew up with black and white television and was fascinated by Boris Karloff, once because I had been given the same rare name, and also because I was fascinated by the 1930s horror films with him and Bela Lugosi. As a teenager, it was Kafka, later Camus' SISYPHUS, and Peter Greenaway that impressed me. I studied philosophy and art because I believed that both provided an answer to the big questions of life. Instead, I could only ask them better. Today my approach is psychological; I am interested in the unconscious mechanisms of the human mind." 
– Boris Eldagsen

Me Me Me

HIGHLIGHTS: CURATED NFTS 

Monika Fleischmann and Wolfgang Strauss are Berlin-based digital art pioneers. Since the mid-1980s, they have been working at the intersection of art and technology, ranging from virtual reality and interactive environments to generative art, consistently exploring code and computers as artistic media. The artist duo broke new ground by forming interdisciplinary teams in technical and scientific environments. They approached emerging technologies as tools and sources of artistic inspiration and cultural transformation. Their pivotal role in the history of digital art was cemented in 1987 when they co-founded ART+COM, Germany's first research institute for digital media, art, and architecture.

NEW MEDIA ART AND VIRTUAL REALITY

MONIKA FLEISCHMANN & WOLFGANG STRAUSS: CREATING VIRTUAL WORLDS LIKE FAIRY TALES

ANIKA MEIER IN CONVERSATION WITH MONIKA FLEISCHMANN AND WOLFGANG STRAUSS

CREATING VIRTUAL WORLDS LIKE FAIRY TALES

CONVERSATION ABOUT NEW MEDIA ART AND VIRTUAL REALITY

BETWEEN ZERO AND ONE (1988) by Monika Fleischmann and Wolfgang Strauss (MFWS) exemplifies generative art by exploring virtual space through systematic computational transformations of 3D geometric models.
This pioneering series from the late 1980s demonstrates how computational methods can serve artistic expression. By systematically deconstructing 3D models through coordinate manipulation, MFWS created a visual language that bridges architectural precision and artistic abstraction. Their approach echoes broader generative art movements, particularly Vera Molnar's systematic reconfigurations of abstract expression, which paved the way for the digital era. The work continues to resonate with contemporary discussions about digital aesthetics, computational art, and the creative potential of systematic transformation.

MONIKA FLEISCHMANN & WOLFGANG STRAUSS | BETWEEN ZERO AND ONE

BETWEEN ZERO AND ONE (1988) by Monika Fleischmann and Wolfgang Strauss (MFWS) exemplifies generative art—an artistic practice where autonomous systems create ever-evolving visual forms through code—by exploring virtual space through systematic computational transformations of 3D geometric models. Initially sparked by an overload in CAD software during the planning of Hewlett-Packard's Berlin headquarters, the artists turned technical limitations into creative potential. Through deliberate manipulation of spatial coordinates and lighting parameters, they developed a method of digital distortion that challenges our perception of virtual space.
The transformation process introduces controlled disruptions into architectural and geometric models, creating a cybernetic interpretation of Brecht's alienation effect. As coordinates shift and forms dissolve, the work reveals the constructed nature of digital space while generating new spatial possibilities between binary states. Each transformation suggests alternative realities within the digital realm, where perfect geometry gives way to calculated imperfection. Recalling Paul Klee's concept of "drawing the line of thought," the geometric abstraction unfolds like a line on a walk, constantly shifting with each recalculation.
This pioneering series from the late 1980s demonstrates how computational methods can serve artistic expression. By systematically deconstructing 3D models through coordinate manipulation, MFWS created a visual language that bridges architectural precision and artistic abstraction. Their approach echoes broader generative art movements, particularly Vera Molnar's systematic reconfigurations of abstract expression, which paved the way for the digital era. The work continues to resonate with contemporary discussions about digital aesthetics, computational art, and the creative potential of systematic transformation.

BETWEEN ZERO AND ONE 004

BETWEEN ZERO AND ONE 016

BETWEEN ZERO AND ONE 030

BETWEEN ZERO AND ONE 036

CURATED NFTS: BETWEEN ZERO AND ONE

Instagram has influenced Leah Schrager's artistic practice, merging photography and performance art through projects like NAKED THERAPY and her signature series, INFINITY SELFIE, which allows her to share nude images by repeating them. Despite gaining around 3 million followers, she found that her success on Instagram hindered attention for her music projects, particularly due to a predominantly male audience. This led her to collaborate on a female-friendly project called MAN HANDS, which explored celebrity culture over two years. However, the project was interrupted by COVID-19, leaving her feeling that she still has work to share to complete that narrative.

Leah Schrager discusses the complexities surrounding women's images once they are published, noting that they can go viral, be censored, or provoke a range of reactions. She expresses a more accepting attitude towards these challenges, recognizing that change takes time and emphasizing her role as a voice in the conversation. In her work ALIGNED WITH THE UNIVERSE, she embraces imperfections from AI generation, seeing them as markers of time and symbols of authenticity. Living remotely in the Sonoran Desert has increased her appreciation for online connection, motivating her to engage with the community through releasing her work as NFTs.

In conversation with Anika Meier, Leah Schrager discusses censorship on Instagram, the evolution of selfie feminism, and how working with AI has changed her artistic practice.

SOCIAL MEDIA AND CENSORSHIP

LEAH SCHRAGER: THE EVOLUTION OF SELFIE FEMINISM

ANIKA MEIER IN CONVERSATION WITH LEAH SCHRAGER

THE EVOLUTION OF SELFIE FEMINISM

CONVERSATION ABOUT SOCIAL MEDIA AND CENSORSHIP

ALIGNED WITH THE UNIVERSE by Leah Schrager consists of 13 AI-generated images based on photographs of herself, reflecting her navigation through major life changes and evolving perspectives.

LEAH SCHRAGER | ALIGNED WITH THE UNIVERSE

ALIGNED WITH THE UNIVERSE by Leah Schrager consists of 13 AI-generated images based on photographs of herself, reflecting her navigation through major life changes and evolving perspectives.
Schrager has been using her likeness in her artwork since 2009 and is best known for her photography, such as INFINITY SELFIE and her Instagram performance ONA ARTIST. Now, she transforms her artistic style and practice to reflect a shifting perspective away from individualism, positioning each of us as protagonists and prioritizing the betterment of the greater good and others. In her first foray into AI, Schrager utilizes the unique aesthetics of this new technology to encompass the chaos and joy of motherhood, inspired by art history’s depiction of women in traditional art.
“As I became a mother, I wanted to explore the experience of bringing another life into this world, learning to care for things that are vulnerable, and feeling at one with the earth and its beauty through my creative innate energy. This has resulted in images that are more anonymized (any-woman), abstract, and organic.
There is a gaze on mothers as well, a sort of assessment, judgment, appreciation, awe, and/or contempt, depending on the person gazing. That's a new experience for me—a new kind of gaze. How do I deal with this change? My change in role as a mother, my change in location to the Sonoran Desert, and the change of technology to AI.
I think most people can relate to moving, becoming a parent, or facing new technology. ALIGNED WITH THE UNIVERSE is my exploration of these experiences. I hope that in its unexpected, quirky, poetic, and dramatic images, it brings up a way to address, face, or just feel these issues.”
– Leah Schrager

Gravity Takes the Day Off

ALIGNED WITH THE UNIVERSE by Leah Schrager consists of 13 AI-generated images based on photographs of herself, reflecting her navigation through major life changes and evolving perspectives.
Schrager has been using her likeness in her artwork since 2009 and is best known for her photography, such as INFINITY SELFIE and her Instagram performance ONA ARTIST. Now, she transforms her artistic style and practice to reflect a shifting perspective away from individualism, positioning each of us as protagonists and prioritizing the betterment of the greater good and others. In her first foray into AI, Schrager utilizes the unique aesthetics of this new technology to encompass the chaos and joy of motherhood, inspired by art history’s depiction of women in traditional art.
“As I became a mother, I wanted to explore the experience of bringing another life into this world, learning to care for things that are vulnerable, and feeling at one with the earth and its beauty through my creative innate energy. This has resulted in images that are more anonymized (any-woman), abstract, and organic.
There is a gaze on mothers as well, a sort of assessment, judgment, appreciation, awe, and/or contempt, depending on the person gazing. That's a new experience for me—a new kind of gaze. How do I deal with this change? My change in role as a mother, my change in location to the Sonoran Desert, and the change of technology to AI.
I think most people can relate to moving, becoming a parent, or facing new technology. ALIGNED WITH THE UNIVERSE is my exploration of these experiences. I hope that in its unexpected, quirky, poetic, and dramatic images, it brings up a way to address, face, or just feel these issues.”
– Leah Schrager

When Nap Time Aligns With The Universe

First Position

ALIGNED WITH THE UNIVERSE by Leah Schrager consists of 13 AI-generated images based on photographs of herself, reflecting her navigation through major life changes and evolving perspectives.
Schrager has been using her likeness in her artwork since 2009 and is best known for her photography, such as INFINITY SELFIE and her Instagram performance ONA ARTIST. Now, she transforms her artistic style and practice to reflect a shifting perspective away from individualism, positioning each of us as protagonists and prioritizing the betterment of the greater good and others. In her first foray into AI, Schrager utilizes the unique aesthetics of this new technology to encompass the chaos and joy of motherhood, inspired by art history’s depiction of women in traditional art.
“As I became a mother, I wanted to explore the experience of bringing another life into this world, learning to care for things that are vulnerable, and feeling at one with the earth and its beauty through my creative innate energy. This has resulted in images that are more anonymized (any-woman), abstract, and organic.
There is a gaze on mothers as well, a sort of assessment, judgment, appreciation, awe, and/or contempt, depending on the person gazing. That's a new experience for me—a new kind of gaze. How do I deal with this change? My change in role as a mother, my change in location to the Sonoran Desert, and the change of technology to AI.
I think most people can relate to moving, becoming a parent, or facing new technology. ALIGNED WITH THE UNIVERSE is my exploration of these experiences. I hope that in its unexpected, quirky, poetic, and dramatic images, it brings up a way to address, face, or just feel these issues.”
– Leah Schrager

Ground Through The Screen

CURATED NFTS

Aaron Huey transitioned from studying traditional art forms to photography, finding it to be an ideal medium for his travels to remote areas. His experiences documenting protests and communities inspired him to create more profound narratives, including work for National Geographic. When he gained access to the National Geographic Instagram account in 2012, it provided an opportunity to share more authentic and behind-the-scenes imagery without the lengthy editorial processes. This shift empowered photographers to communicate impactful stories directly to a vast audience, highlighting the potential of images to influence reality.

Huey plays an integral role in the ongoing evolution of photography, particularly highlighting the rise of AI-assisted imagery and its potential for artistic innovation. He expresses skepticism about the art world’s focus on commercial success rather than genuine talent. While he is excited about the creative possibilities of new technologies, he also emphasizes the critical need for photojournalism in a society increasingly disconnected from reality. Huey acknowledges the challenges posed by misinformation and the skepticism surrounding visual evidence, reflecting on his dual role as an artist and a photojournalist concerned about data integrity and the implications of these changes.

On the occasion of the exhibition REIMAGINE TOMORROW, 1954–2024, Anika Meier and Aaron Huey discuss his artistic beginnings, his photography for National Geographic and in the metaverse, image-making in the age of AI and Trump, and his predictions for the future of photography.

AI AND PHOTOGRAPHY

AARON HUEY: A NEW PHOTOGRAPHIC RENAISSANCE?

ANIKA MEIER IN CONVERSATION WITH AARON HUEY

A NEW PHOTOGRAPHIC RENAISSANCE?

CONVERSATION ABOUT AI AND PHOTOGRAPHY

<span lang="EN-US" style="font-size: 11.0pt; mso-ascii-font-family: Aptos; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Aptos; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi; mso-ansi-language: EN-US; mso-fareast-language: EN-US;">Aaron Huey’s series GASOLINE GARDENS addresses the topic of climate change through decorative wallpaper. The artwork, created with AI trained on his photographic archive, invites viewers to engage with transformed images of environmental crises in their everyday spaces.
<span lang="EN-US" style="font-size: 11.0pt; mso-ascii-font-family: Aptos; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Aptos; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi; mso-ansi-language: EN-US; mso-fareast-language: EN-US;">Inspired by 18th-century tapestries, GASOLINE GARDENS references a past era of global transformation by depicting historical wallpaper patterns such as chinoiserie, with its idealized exotic landscapes, and Toile de Jouy, with its pastoral scenes. In 2024, Huey incorporates these decorative formats as text prompts in a model trained on his climate change photography archive. Colorful florals intermingle with spirals of smoke, industrial refineries, and diminishing forests, blurring the lines between aesthetic appreciation and ecological awareness.

AARON HUEY | GASOLINE GARDENS

Aaron Huey’s series GASOLINE GARDENS addresses the topic of climate change through decorative wallpaper. The artwork, created with AI trained on his photographic archive, invites viewers to engage with transformed images of environmental crises in their everyday spaces.
 Inspired by 18th-century tapestries, GASOLINE GARDENS references a past era of global transformation by depicting historical wallpaper patterns such as chinoiserie, with its idealized exotic landscapes, and Toile de Jouy, with its pastoral scenes. In 2024, Huey incorporates these decorative formats as text prompts in a model trained on his climate change photography archive. Colorful florals intermingle with spirals of smoke, industrial refineries, and diminishing forests, blurring the lines between aesthetic appreciation and ecological awareness.
GASOLINE GARDENS is based on Huey’s project, WALLPAPER FOR THE END OF THE WORLD, which he made available as free downloads at crisiscurated.com. This integration of such imagery into domestic and public environments—from boardrooms to bedrooms—creates a persistent, if veiled, reminder of our environmental challenges.
"By using my archive as a new lens, I can untether myself from the act of capturing a singular decisive moment. I can engage in an ongoing process of exploration and creation from those seeds of the past. What emerges is a hybrid reality where what is and was converges with what is not (or cannot be), as well as what could be in some future world—a multiversal viewfinder looking through another kind of lens."
– Aaron Huey

Gasoline Gardens 003

Gasoline Gardens 012

Gasoline Gardens 018

Gasoline Gardens 017

For nearly a decade, Merzmensch has been exploring the creative side of generative AI. He has experimented with the most accessible models and approaches, from Google's Deep Dream in 2016 to RunwayML in 2024. As a creative member of the OpenAI Community Ambassador Group since 2020, Merzmensch's goal has always been to unleash the creativity of AI by pushing these models to their limits. His 2021 series, EVE OF DIFFUSION (MONA LISA DRINKING WINE WITH DA VINCI), tested the cultural and theoretical knowledge of DALL-E 1, to which he gained early access.

In conversation with Anika Meier, Merzmensch discusses the early days of AI diffusion models, the inspiration for his series EVE OF DIFFUSION, and what it means to live in a "post-truth" society.

AI AND ART

MERZMENSCH: "WE CANNOT STOP TEACHING VISUAL LITERACY"

ANIKA MEIER IN CONVERSATION WITH MERZMENSCH

"WE CANNOT STOP TEACHING VISUAL LITERACY"

CONVERSATION ABOUT AI AND CREATIVITY

MERZMENSCH | EVE OF DIFFUSION

EVE OF DIFFUSION (Mona Lisa is drinking wine with da Vinci) by Merzmensch is a series of text-to-image AI artworks that explores the cultural knowledge and creative capacity of DALL-E 1. Human dreams are made up of emotions, experiences, feelings, and ideas—but what about machine dreams?
Since 2016, Merzmensch has been exploring the creative side of generative AI by experimenting with the most accessible models and approaches. Since 2020, he has been a creative member of the OpenAI Community Ambassador group. Made in 2021, on the eve of the diffusion models, he gained exclusive access to DALL-E 1 and began his usual approach: to unleash the creativity of AI by pushing models to their limits.
"Working with DALL-E 1 (based on the GPT-3 model), I discovered a deep AI awareness of human culture, contexts, and knowledge. What happens when we put these ideas together? What happens when LA GIOCONDA toasts her creator with a glass of wine? 
We experience a series of unique moments—from boring overfitting (de-auratized, in Walter Benjamin's view) to the incredible staging of Lillian Schwartz's hypotheses about the Mona Lisa being a self-portrait by Da Vinci. For me, this was the beginning of a long, never-ending journey into meaningful dialogue with visual AI—after five years of inspiring but desemanticized wanderings in the semi-lit labyrinths of latent spaces of Deep Dream and GANs."
– Merzmensch

Aurora

Hello

Red Gioconda

The Same

CURATED NFTS: EVE OF DIFFUSION

HISTORY 

ABOUT

EXPANDED.ART turns Web3 inside out and expands the notion of a gallery and an online marketplace by being both. The focus is on the history of digital art and on supporting female and non-binary artists. Art is made collectible for everyone by offering NFTs and editions. 



EXPANDED.ART presents yesterday's pioneers and today's avant-garde. 



Partnered with PROOF, Fellowship, Verse, MUD Gallery (Shanghai), fx(hash) 2.0, objkt.one, Foundation, Highlight.xyz, VERTICAL, Photo Edition Berlin, elementum, Emergent Properties, and Annka Kultys. 

ABOUT EXPANDED.ART

EXPANDED.ART turns Web3 inside out and expands the notion of a gallery and an online marketplace by being both.


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HIGHLIGHTS

17–24 NOVEMBER 2024 | AI BIENNALE, ESSEN

REIMAGINE TOMORROW, 1954–2024. AI IN CONTEXT #2

HIGHLIGHTS: CURATED NFTS

CONVERSATION ABOUT NEW MEDIA ART AND VIRTUAL REALITY

ANIKA MEIER IN CONVERSATION WITH MONIKA FLEISCHMANN AND WOLFGANG STRAUSS

CREATING VIRTUAL WORLDS LIKE FAIRY TALES

CURATED NFTS: BETWEEN ZERO AND ONE

CONVERSATION ABOUT SOCIAL MEDIA AND CENSORSHIP

ANIKA MEIER IN CONVERSATION WITH LEAH SCHRAGER

THE EVOLUTION OF SELFIE FEMINISM

CURATED NFTS

CONVERSATION ABOUT AI AND PHOTOGRAPHY

ANIKA MEIER IN CONVERSATION WITH AARON HUEY

A NEW PHOTOGRAPHIC RENAISSANCE?

CURATED NFTS

CONVERSATION ABOUT AI AND CREATIVITY

ANIKA MEIER IN CONVERSATION WITH MERZMENSCH

"WE CANNOT STOP TEACHING VISUAL LITERACY"

CURATED NFTS: EVE OF DIFFUSION

ABOUT EXPANDED.ART