Sixty years of a self that multiplies.
Lynn Hershman Leeson: First Person Plural opens today at the Seoul Museum of Art (@SeoulSema), her first museum solo exhibition in Asia, through Feb 21, 2027. Some 200 works in six sections run from the Breathing Machines, wax casts of her face that breathe and speak in her recorded voice, to Roberta Breitmore, the alter ego she lived as for years, and CyberRoberta, a doll with cameras in its eyes that films whoever looks at it.
Another kind of intelligence.
The Whitney (@whitneymuseum) launched Warpmode, This is not a game! by Jazsalyn on artport, its online gallery for internet art, organized by curator Christiane Paul. It takes her Warpmode deck of 40 prompt cards, made with Black Beyond, online under her framework of Ancestral Intelligence: knowledge, ritual and skill passed down through generations as an alternative idea of AI. Answers stay anonymous and gather into a memory cloud that becomes part of the work.
Angels out of work.
aurèce vettier (@aurecevettier) opened off-duty seraphim at DARMO in Paris last night, during Art Basel Paris, on view through Nov 5. "What if humanity had defeated death?" he asks. He trains AI models on his own archive, childhood photos and dreams, then hands the images to craft workshops: a palladium-gilded bronze cabinet, oil paintings, Aubusson tapestries made with painter Vincent Gicquel, and pietra dura hardstone inlays.
Tapestry, retranslated.
David Salle opens The Venice Paintings tonight at Thaddaeus Ropac Paris Pantin, reuniting the canvases from his Palazzo Cini show during the Venice Biennale, through Dec 23. Since 2022 he has worked with an AI model trained on his own oeuvre, here focused on his Tapestry Paintings (1989–91), themselves drawn from Imperial Russian tapestries after Italian old masters. The model warps them into all-over abstractions printed on canvas, which Salle then corrects, attacks or amplifies with paint. The aim, he says: "To get outside of myself."
And a history: in 2005 two fellows at Eyebeam in Chelsea, Evan Roth and James Powderly (@jamespowderly), started the Graffiti Research Lab.
"I'm not a graffiti writer," Powderly told The New York Times (@nytimes). "I like to say I'm a graffiti engineer." Their LED Throwie, a battery, an LED and a magnet taped together, came with instructions: "Throw it up high and in quantity." L.A.S.E.R. Tag let writers draw on buildings with a laser pointer, and in 2007 put dripping letters of light on a building in Hell's Kitchen.