✍️ A few months ago, I started writing on Substack—a weekly newsletter. That was the idea, at least. I’m still working on publishing one post every week, so I’ve disappointed myself a little.
Anyway, like I said, it’s a newsletter about internet culture, art, and technology. Oh, and also pop culture—Taylor Swift, Netflix, music, Gilmore Girls, books, and whatever I’m currently working on.
I might disappoint you.
🔗 Subscribe via the link in my bio.
“The key to life is to stay fluid.” - Claudia Hart
Pioneer of digital and intermedia art @claudhart has just been awarded the ACM SIGGRAPH Distinguished Artist Award 2026 for Lifetime Achievement - recognizing decades of groundbreaking work at the intersection of art, gender, and virtual worlds.
In our conversation with @anika she reflects on artistic identity, the violence of the art market, and the long, often invisible road women artists have had to navigate.
Read the full interview now on https://www.fraeulein-magazine.eu/the-key-to-life-is-to-stay-fluid-claudia-hart-in-conversation-with-anika-meier/
Back to speaking at re:publica this year. When I thought it’d be a great idea to speak about failed utopias and possible futures, I didn’t expect the present to look this much like the past: trading cards, systems art, painful performances.
19 May 2026 • 6:00-6:30 PM CET
Jacket: @oor.apparel
In Spike #87, “Everything’s Computer,” Anika Meier samples five art practitioners who are responding to generative AI by building avatars, ecosystems, and autonomous models – and blowing open the conceit that so much of art’s value should rest on its makers’ signatures.
Get the clout-magnetizing print copy or an instantly downloadable e-paper >>> /products/issue-87-spring-2026-everythings-computer
Images
1. LaTurbo Avedon, Self-Portrait (Fluorescent), 2021
2. Holly Herndon & Matt Dryhurst, xhairtymutantx, 2024
3. Sofia Crespo, Coral, from the series “Artificial Neural History,” 2020–24
4. Jon Rafman, Main Stream Media Network, 2025, Sprüth Magers, Los Angeles
#everythingscomputer #postartist
On the occasion of his solo show Conflict of Interest at SLEEK Art Space during @galleryweekendberlin Mario Klingemann speaks with curator Anika Meier about a growing exhaustion with image-making. „For the past three years, I’ve had a problem. I no longer see the point of making images,“ he says. „For me, the subject is essentially exhausted.“
Read the full conversation at The AI Art Magazine or listen directly on Saturday, May 2 (11–11:30 am), during the artist talk at @sleek.artspace in Berlin. Conflict of Interest opens on Monday, April 27, In partnership with @artontezos
#inertimages #galleryweekendberlin
Conflict of Interest by Mario Klingemann opens at SLEEK Art Space during Gallery Weekend Berlin. AI slop everywhere, endlessly optimized images, and he looks for a retreat: inert images. Anika Meier writes about the conflict of an artist in the age of AI. But what can you do?
Champagne Breakfast & Artist Talk:
Mario Klingemann in conversation with Anika Meier
May 2nd, 2026
10:30AM - 1:00PM
At SLEEK Art Space
Alexander Str.7
10178 Berlin
Inert Images vs. Attention Maxxing in the Age of AI Slop.
_____
Bild 1:
Mario Klingemann, Die Jugend spaltet das Atom, StyleGAN2, 2020. Song: Kraftamt, Das Atom, 2013.
Bild 2:
Mario Klingemann, Landscapes.
Bild 3:
Mario Klingemann, Triggernometry, generative music video, StyleGAN2, Custom Python Code, 2020. Song: Kraftamt, Triggernometry, 2014.
Bild 4:
Mario Klingemann, Weapons of Mass Disctraction 10, 2026.
#marioklingemann #exhibition #art
A behind-the-scenes peek at Mario Klingemann’s solo exhibition, »Conflict of Interest«, by me is now live on SLEEK.
The exhibition opens at SLEEK Art Space during Gallery Weekend Berlin. AI slop everywhere, endlessly optimized images, and he looks for a retreat: inert images.
So what might Mario Klingemann’s place of retreat look like? A deserted island where he could be alone for a while as an artist—until AI turns even that into a destination for mass tourism.
He wants to go where it hurts, but only to the point where it does not become boring. He wants to make inert images: images that do not have to perform and therefore are not optimized for attention.
🎈 Join us for the opening!
SLEEK in partnership with Art on Tezos.
#marioklingemann #sleekartspace #sleekmag #galleryweekendberlin #inertimages
OONA’s solo exhibition »Dear David: A Surveillance Love Story« has come to an end at Schlachter 151 by @oor_studio . @numeroberlin joined as exhibition partner, powered by @artontezos , with @cifraworld supporting the private dinner. Missed it? You can watch the full »Dear David« video series on CIFRA. 🔗 in bio.
Here’s the exhibition text, in case you’re wondering who this ominous, omnipresent David is:
OONA’s solo exhibition »Dear David: A Surveillance Love Story,« curated by Anika Meier (that’s me) at Schlachter 151 in Berlin, is both a document and a live performance.
Since 2019, OONA has been performing for the surveillance cameras of the London Underground. At the same time, she began an email exchange with David, a man she has never met. They have exchanged more than 400 emails. David works for Transport for London. His task is procedural: retrieving CCTV footage for those who request access to recordings of themselves. OONA has received the recordings of her performances and dedicated six video letters to David. In Berlin, OONA will also perform, but this time for the dear guests and For Human Eyes Only. If machines are trained to read the body as data, what does it mean to be seen? And what becomes visible when the machine fails to detect the body?
Photos by @jan_kapitaen and me.
Digital Originals: Governing an autonomous AI Artist. Digital art writer and curator @anika interviews @hudsonsims about BottoDAO, collective authorship, decentralised decision making, and the tension between artistic autonomy and market incentives.
Between growth, guidance, and responsibility, BOTTO raises urgent questions about how we relate to Al systems and who gets to shape their future.
#anikameier #bottodao #aiart #sleek
I’m delighted to bring OONA back to Berlin with a new performance and a full solo exhibition.
OONA’s solo exhibition »Dear David: A Surveillance Love Story« is both a document and a live performance.
Since 2019, OONA has been performing for the surveillance cameras of the London Underground. At the same time, she began an email exchange with David, a man she has never met. They have exchanged more than 400 emails. David works for Transport for London. His task is procedural: retrieving CCTV footage for those who request access to recordings of themselves. OONA has received the recordings of her performances and dedicated six video letters to David.
In Berlin, OONA will also perform, but this time for the dear guests and „For Human Eyes Only«. If machines are trained to read the body as data, what does it mean to be seen? And what becomes visible when the machine fails to detect the body?
Opening: 19 March 2026, 6-10 PM CET
Schlachter 151 by @oor_studio
Wilmersdorferstr. 151
10585 Berlin
P.S. Free drinks & live performance!
It is here—the cover of The AI Art Magazine No. 3.
Sougwen Chung is a Chinese Canadian artist and researcher whose practice intertwines drawing, robotics, and AI into what they describe as an “operational art practice,” structured through recurring operations of drawing, physical computing, sensing, performance, narration, and research-as-practice. Reclaiming a term from Cold War military doctrine, Sougwen shifts the meaning of “operational” away from strategy and warfare toward navigating complex terrains composed of bodies, tools, and environments.
In their interview with Anika Meier, the conversation explores the role of performance, uncertainty, and drawing in understanding space as something that emerges relationally and temporally. From questions of documentation and embodiment to the future of human–machine collaboration, Sougwen outlines a vision of technological development grounded not in extraction but in empathy and shared becoming. At the same time, they reflect on the term “AI art”: “I have always found the term ‘AI art’ to be somewhat restrictive, with some specific political connotations that I don’t align with… I can see the value there, but I’m also interested in continuity and legacy. I’m inspired by drawing.”
The cover features the installation Body Machine (Meridians), in which suspended biomimetic structures render the entanglement of bodies and computational processes as a spatial experience. Space here is not a neutral background but something that emerges between gestures, signals, and attention—a relational field that lies at the center of this issue’s theme, Spatial Intelligence.
The AI Art Magazine No. 3 will be released on April 4 and is now available for pre-order at art-magazine.ai.
Our thanks to @sougwen and @anika for their contribution to this edition.
#number3 #spatialintelligence #thefirstartificialfrontier
