Pixels or it didn’t happen... Last night we had a fantastic opening for “Pixel Perceptions”—an exhibition produced by the great team @noorderlichtphotography led by their amazing director @roosjeklap I have two works in the show, both of them collaborations with wonderful artist colleagues and a range of AI assistants: ** “Telephone,” a new commission especially for the exhibition made in collaboration with @martinestig and @joannazylinska with support from Noorderlicht and @mondriaanfonds is a five-screen video art installation exploring human-AI creative collaboration The work was composed via an experimental procedural composition created by way of the artists communicating solely through AI-generated images and small process documents Inspired by the children’s game Telephone (aka Chinese Whispers), the creative process deployed by the artists adhered to a strategy of a slow and deliberative yet highly generative call-and-response network performance ** “Posthuman Cinema” continues its amazing 2024 run. The work is beautifully installed in the “high pews” inside the 700-year-old church in Groningen. PHC just closed in Bergen as part of “More Than Meets AI” @bergenfilmfest / @centerfordigitalnarrative following earlier installations at @noise_media_art fair in Istanbul (with @katevassgalerie ) and the International Biennale of Digital Art curated by @elektra_bian Almost 400 people came to the opening

“Enter the Ghost. Exit the Ghost. Enter the Ghost, as before.” —Shakespeare (also describes me in the art world)

*ANNOUNCING* My first solo exhibition in 2023 “Mark Amerika. Remixing Reality. 1993-2023.” opens March 30 and runs through May 13 and will take place in Barcelona at the Marlborough Gallery @galeriamarlborough My heartfelt gratitude to the amazing @loreninaiz for her vision and generosity putting this exhibition together as well as @mercedesmarlborough and everyone @galeriamarlborough This is the first time an exhibition exclusively focused on digital art will take place in the gallery. The show will include early net art "classics" + video poetry + animated GIFS + glitch art + AI art + digital prints + NFTs for collectors of select works In conjunction with the opening of my exhibition, on March 31 there will be a public event happening at the @CasaSEAT media space where I’ll be in dialogue with journalist, digital art historian and arts writer @_roberta.bosco_ discussing the various works in the exhibition About the gallery: The Marlborough art gallery started in London in 1946 and has branches in New York and Spain. Many of the artists they have exhibited and represented over the years are straight out of the art history books: Mary Cassatt, Paul Signac, Claude Monet, Camille Pissarro, Paula Rego, RB Kitaj, Louise Bourgeois, Oskar Kokoschka, Henry Moore, Francis Bacon and Lucian Freud. The Marlborough headquarters in Madrid was founded in 1992 with a celebrated inaugural exhibition showcasing the last ten years of Francis Bacon's work. This was the last individual exhibition organized during the life of the artist, who died just six months before the exhibition opened. Other artists recently exhibited in the gallery include Luis Gordillo, Laura Anderson Barbata, Soledad Sevilla, Gillian Ayres, Riera i Aragó and David Rodríguez Caballero. __ It is such an honor to be able to share a survey of my digital art over the last 30 years in such esteemed company.

DREAM FACTORY by the Posthuman Cinema Collective, explores how artists and machines might improvise together—composing atmospheres, voices, and bodies that neither could make alone. The result is speculative and sensorial, at once fiction, documentary, expanded cinema, and prescient work of contemporary art. DREAM FACTORY, the most ambitious work by The Posthuman Cinema Collective - Mark Amerika, Will Luers, and Chad Mossholder, is a long-form video that summons apparitions into presence: gesturing, posing, and speaking across the screen's spectral plane. Following international exhibitions of their breakout collaboration "Posthuman Cinema" at venues including the International Biennale of Digital Art in Montreal, the Noise Art Fair with Kate Vass Galerie in Istanbul, Noorderlicht in Groningen, the Bergen International Film Festival, and Gallery 120710 in Berkeley, the collective expands its improvisational practice by reimagining Andy Warhol’s Factory as a digital séance-fiction, replacing the 16mm camera with the algorithmic gaze of generative systems. DREAM FACTORY unfolds across five movements, beginning with the literal making of AI models as they imagine themselves into embodied existence and culminating in these entities becoming jaded Superstars speaking directly to viewers. Throughout, BAFTA-nominated sound designer Chad Mossholder's evolving ambient soundtrack runs parallel to the images, voiceover, and artificial voices, creating a layered sonic landscape. Featured at streamingmuseum.org/post/dream-factory Website: posthumancinema.com/dream-factory @markamerika 
@wluers @cmossholder

Artists have been making books since forever. Unique and very limited edition bookworks are often referred to as “artist books,” and I have made quite a few (all sold out). But I have a special interest in artists who take their aesthetic sensibility and transcode it into the world of experimental fiction. Here are a few that really “do it” for me: 1 - gallery pic from 2020 2 - “The Complete Stories of Leonora Carrington” — one of my favorite painters, these stories, most of them written in her twenties (!), are the most imaginative short stories you’ll ever read. Totally mindblower. 3 - “Dictee” by Theresa Hak Kyung Cha is perhaps my favorite book of all time (but I say that about a lot of books). Some may challenge my putting it in the category of fiction as it could also be read as creative autobiography or what some critics now label autofiction. Others insist it is poetry. Truth is, it defies categorization as does most of her work. If you ever get a chance, check out her work in the special collections at UC Berkeley (and her moving image work at the Pacific Film Archive). I have been there many times. 4 - a threesome: “Fuck Seth Price” by Seth Price, “Overstaying” by Ariane Koch and “The Kafka Chronicles” by moi. I think these are all first novels written by artists. Price’s novel is a kind of American Psycho takedown of the art world. Koch’s novel is just pure fun and comedic weirdness. My own book was written primarily in my twenties too. It’s raw and was included in a few overviews of “transgressive fiction.” Do I still identify with that guy? Is it autofiction? When I interviewed Bret Easton Ellis about American Psycho he told me his book was autobiographical. Any other novels or short story collections by writers primarily known as artists that you would like to add / recommend in the comments?

Another productive season in the Kailua winter studio. Finishing up a series of digital video artworks, a new art commission to be presented in Rome next month and a tighter draft of my next novel. Pics here: 1 - Path from indoor studio to outdoor studio More from the “Imaginary Self-Portraits” —an ongoing and improvised live performance of sand drawings with found objects including 2 - “Self-Portrait as My Own Sister” 3 - “Self-Portrait as Beavis and/or Butthead” (made with feet instead of stylus) 4 - “Self-Portrait as Uncle Mort” (Miami Beach circa 1974 with bad toupee and ostentatious necklace — FWIW I was born on South Beach now home to Art Miami Basel— also, I have no Uncle Mort) 5 - “Self-Portrait as Character-Thing in a Cronenberg Film”

Here is the first trailer from DREAM FACTORY. The work was made in collaboration with @markamerika @wluers and @cmossholder as a follow-up to Posthuman Cinema. The artwork will be included in EXTRA/PHENOMENALITIES, a wonderful exhibition curated by the amazing trio of @shanedenson8 @karinkorneliadenson @brettamory opening on Thursday in Palo Alto at the Stanford Art Gallery. About the exhibition: EXTRA/PHENOMENALITIES January 22–March 13, 2026 Stanford Art Gallery What are the limits of experience? This exhibition explores forms of appearance that press against the edges of perception—phenomena that are felt only indirectly, sensed as traces, intensities, or disturbances rather than as stable objects. “Extra/phenomenality” refers to this ambiguous zone of surplus and slippage: where aspects of the world exceed or elude our usual modes of noticing, while still shaping how we see, feel, and understand. About DREAM FACTORY: DREAM FACTORY unfolds across five movements, beginning with the molding of artificial forms as they imagine themselves into embodied existence and culminating in these entities speaking directly to viewers in modulated human voices. The work traces a complete evolution, from foundational apparitions constructing a sense of form, through experimental social embodiment, surreal encounters, and early attempts at speech that surface as Dada-inflected sound poetry, to moments of articulate self-reflection. Rather than asking whether machines can replace artists, DREAM FACTORY explores how artists and machines might improvise together by composing atmospheres, voices, and haunting figures that neither could produce alone. The result is a speculative, oneiric cinema that operates simultaneously as fiction, documentary, expanded media, and experimental ritual.

Back in the winter studio for another intense round of experimental deep dives into what Jung termed the "collective unconscious" (which, for him, the sea symbolized). Soon to release a long-form video artwork that will free up time to finish a serious revision of this raw nerve novel I've been working on the last year. The images here are - the artist out in the real studio - excerpts from an ongoing series of improvised sand drawings that I call "Imaginary Self-Portraits"

Mark Amerika has been my teacher, mentor, supervisor, collaborator, and friend. It is therefore my honor to announce, by decree of the Interdimensional Council of Posthuman Arts, that Mark Amerika is the first earthling in the recorded history of intergalactic cultural exchange to be awarded THE HYPERMEDIA ASCENSION AWARD in recognition of a lifetime of remix, glitch, artificial creative intelligence and posthuman creative evolution, and for achieving INFINITE BECOMING. The materials presented here include the commemorative portrait/portal titled ASCENSION (AMERIKA ∞ GLITCH), the Glitch Certificate, and the auxiliary Oblivion Pizza Emporium & Portal Bar voucher. Together, they constitute the official documentation of this honor. This award is itself a remix. It was assembled through a process of transformation and synthesis using appropriated materials, Photoshop, After Effects, AI, augmented reality, and digital performance on a gel plate print. These tools function as contemporary instruments aligned with the lineage of remix, hypermedia, and experimental practice the award recognizes. This post is part of the work. It functions as a public record of transmission. Congratulations to Mark Amerika on his Hypermedia Ascension. 👏 #artlife #transmedia #markamerika #autonomoussoup #gelplateprint #remix

I once had the pleasure of welcoming Woody and Steina Vasulka to Boulder. Their work means so much to me. My international VJ / live cinema tours back in the day were heavily influenced by their contributions to expanded forms of moving image art.

When I first heard that there was a new @lynn.l.leeson memoir coming out, I immediately procured a copy and read it in a few days The book, *Private I* (@ze__books ), so stimulated me that I decided to write a book review, something I used to do more frequently when I wrote regular online columns for various publications back in the ‘90s This one is in the November issue of the @Brooklynrail thanks to the arts and technology editor @lucyscribbles Here’s an excerpt discussing the chapter on Roberta Breitmore: Roberta’s “artificial life” signals what Hershman Leeson would continue to pursue for decades: the question of how identity, technology, and cultural systems co-construct one another. The project also reveals how far ahead she was in intuiting the contours of AI and artificial personhood [...] Hershman Leeson’s Roberta offers an investigation of performative persona that brings to mind Fernando Pessoa’s “heteronyms,” literary characters for whom he developed unique biographies, writing styles and worldviews that were revealed in collections of poetry and prose that these personae wrote, through him. It takes the idea of method acting and folds it back on itself, so that the artist is the method is the medium [...] Long before social media profiles, online avatars, or algorithmically generated “selves,” Hershman Leeson was stress-testing how identity could be both manufactured and surveilled, both embodied and dispersed. What once looked like a radical feminist intervention now reads like an early operating manual for the ways we inhabit digital space. __ Read the full review at brooklynrail.org (scroll to the bottom to the art+tech section)

We are currently displaying work by Mark Amerika (@markamerika ), who has exhibited his art in many venues including the Whitney Biennial of American Art, the Denver Art Museum, ZKM, the Walker Art Center, and the American Museum of the Moving Image. His solo exhibitions have appeared all over the world including at the Institute of Contemporary Arts in London, the University of Hawaii Art Galleries, the Marlborough Gallery in Barcelona and the Norwegian Embassy / Vives-Figueroa Gallery in Havana. Amerika has had five early and/or mid-career retrospectives including the first two Internet art retrospectives ever produced (Tokyo and London). In 2009-2010, The National Museum of Contemporary Art in Athens, Greece, featured Amerika’s comprehensive retrospective exhibition entitled UNREALTIME including his groundbreaking works of Internet art GRAMMATRON and FILMTEXT as well as Immobilité, the first feature-length art film shot entirely on mobile phone. In 2012, Amerika released his transmedia narrative, Museum of Glitch Aesthetics (MOGA), a multi-platform net artwork commissioned by Abandon Normal Devices in conjunction with the London 2012 Olympic and Paralympic Games. He is the author of thirteen books including My Life as an Artificial Creative Intelligence, the inaugural title in the “Sensing Media” series published in 2022 by Stanford University Press. PIECE Posthuman Cinema, 2023 AI video with original soundtrack STATEMENT “My practice emerges from an intimate collaboration with artificial intelligence, exploring how the creative unconscious transforms through machinic encounter. When engaging in continuous call-and-response writing and artistic performances with Generative AI, I literally feel my mind expand as I intuitively reorganize creative thought processes while conjuring new image and text associations. Caption continued in comments👇