How not to be seen, at full scale.
On Thursday the Deichtorhallen Hamburg (@Deichtorhallen) opens Hito Steyerl: Deine Mudda macht Show, around eight room installations from 1999 to 2025 filling its Hall for Contemporary Art, split into a bright zone and a dimmed one, through Mar 29, 2027. Alongside How Not To Be Seen (2013), her lesson in disappearing from a fully surveilled world, comes Mechanical Kurds (2025), on drones and AI in modern warfare, and the German premiere of her latest film, The Island, where recurring floods tie together stories of AI-fueled authoritarianism, the climate crisis and political pressure on science.
A cake he once wanted to poison.
In Art in America's (@ArtinAmerica) fall Icons issue, Emily Watlington profiles Walid Raad for ARTnews (@artnews). At 15, in war-torn Beirut, he photographed a bakery cake wishing a happy birthday to Hassan Nasrallah, then a rising militiaman. "But I was 15," he told her. "I was a coward." Decades later he returned to it in digitally fabricated birthday cakes for political leaders who are hard to celebrate. Next spring at Paula Cooper Gallery in New York, he plans to lay a vintage VW Beetle on its back, after the "flying Volkswagens" American soldiers called the shells they fired on Beirut in the 1980s.
New on http://catalogue.gallery: an AI from a ruined future keeps time.
Bård Ionson (@BardIonson) has spent years telling SAGE Anomaly, the story of something that breached a Cold War air defense network at North Bay, Ontario, in 1964. In Tape T Is In The System, on SuperRare (@SuperRare), visitors talk to its voice, The Entity, and their conversations become new works, now past 420. His Q7 Entity Display Scope, a small aluminum device with a round screen, answers out loud, and since Oct 18 it builds working clocks made of art: "We keep time together."
New on http://catalogue.gallery: who am I asks who are you.
Madrid-based Marcelo Soria-Rodríguez (@msoriaro) released identity studies Series I, 20 crowds of faces on Ethereum made with AI models trained only on his own code, drawings and family photographs, "a way of seeing that is mine, not the internet's." He pushed the models off balance on purpose, so the faces come out "recognisable and not quite right, which is close to how many of us feel at the moment."
And a history: in June 2005, ISSUE Project Room (@issueproject), founded by photographer Suzanne Fiol in an East Village garage in 2003, moved into a two-story silo by the Gowanus Canal in Brooklyn.
Composer and engineer Stephan Moore installed a 16-channel array of hemispherical speakers there so composers could write for it, letting "electronic instruments take on the characteristic intimacy of acoustic instruments." Julien Ottavi and Dion Workman broke it in with Spati0silo, a single 36-hour piece, and the Village Voice named ISSUE the best avant-garde music venue of 2005.