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October is halfway through, and as we are between Frieze @friezeofficial and Art Basel @artbasel, let’s take a break and read the latest news from the realm of new media contemporary art.

#digitalart #frieze #friezeartfair #taex #taexmonaco

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In 1977, Larry Cuba programmed the Death Star trench run for Star Wars. Eight years later he created Calculated Movements (1985).

Sound on. 📢

Works of this historical weight rarely become available.

Edition of 5 on @verse_works.

Read the interview with Larry Cuba on @right_click_save.

Links in bio.

#LarryCuba #CalculatedMovements #CollectDigitalArt #DigitalArt

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In Conversation with Alex Estorick
Daemon 04: Jurisdictional Static - The Liminal Review 2026

What happens to cultural memory when everything enters the same machine?

As digitally mediated culture is increasingly channelled into deep-learning models, @alexestorick, Lumen Prize ISC Member and Founding Editor of @right_click_save, considers what may be lost as established boundaries between disciplines begin to dissolve.

“If humans forget where one discipline ends and another begins, it will be impossible to avoid the reiteration of old logics of extraction and exploitation in new computational regimes.”

Those distinctions carry histories with them, including an awareness of the biases embedded within established cultural systems. As AI draws different forms of culture into the same computational terrain, preserving that memory becomes increasingly important.

Jurisdictional Static gives us a framework for examining who determines the rules of these emerging systems, and what happens to cultural knowledge as those rules are rewritten.

Comment LIMINAL to read Alex’s contribution.

#TheLiminalReview #LumenPrize #JurisdictionalStatic #TLR26

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Now on view: ‘!Mediengruppe Bitnik: Qwen Stephanie Against Techfascism’, an exhibition presented across the gallery’s virtual space ANNKA KULTYS PHYGITAL launched in 2022. (21 September — Sine Fine)

Across four moving image works, the exhibition continues the collective’s interrogation of the unequal systems of power and control inherent on the internet through sermons on technofascism delivered by the fictional character Qwen Stefani, introducing us to a blueprint to resistance. Qwen Stephanie Against Techfascism marks !Mediengruppe Bitnik’s second exhibition with the gallery and coincides with Annka Kultys Gallery’s eleventh anniversary.

Video 1
!MEDIENGRUPPE BITNIK
Doomscroll against Techfascism #SabotageManual #AI #TechTok #Qwenstefani
2025
3-part video installation, Full-HD, sound, loop.
16 min 06 sec each
Aspect ratio 9:16
(!MGRUP002.25)

Inquiries about the work: inquire@annkakultys.com

The four sixteen-minute video works, presented as an installation both in the gallery’s physical space and VR counterpart, come from !Mediengruppe Bitnik’s series Qwen Stephanie Against Techfascism (2025-ongoing). Associate Professor Catherine D’Ignazio at Massachusetts Institute of Technology defines technofascism as the increasing collusion between the tech companies of Silicon Valley and right-wing billionaires with anti-democratic political agendas, thereby directly undermining multiracial democracy, human life, and the planet. It is precisely these themes which run throughout the works on show in this exhibition, tackled by Qwen Stefani, an uncanny AI generated character who looks out to us from beyond the screen. Her feminine features mirror the beauty aesthetics that have become so prominent in popular culture: big, bright eyes, plump lips, and a soft, hypnotising American voice. As she speaks she is perpetually crying, perhaps mourning the loss of our personal freedoms.
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mediengruppebitnik annkakultysgallery annkakultys

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Now on view: Karin Sander. The show was no title. Featuring her new video work ‘696 Encounters / 696 Begegnungen’ (2026), the exhibition continues Sander’s established conceptual practice of intervening in and transforming environments and structures. It marks the artist’s return to London following her 2016 exhibition at the Whitechapel Gallery and her first solo show with ANNKA KULTYS GALLERY, a leading champion of new-media and digital art (9 October — 5 December 2026)

‘696 Encounters / 696 Begegnungen’ (2026) is a five-minute moving image work that depicts a community of ants moving to-and-fro along the ledge of a railing against a blue sky, filmed by the artist. Compositionally, the picture plane consists of stark verticals and horizontals with the railing occupying the majority of the frame. Against this fixed architectural structure, the eye is drawn to the organic movement of the ants as they scurry backwards and forwards in and out of view, chaotic and organised at one and the same time. The scene shares a striking resemblance to traffic or people moving across elevated highways in dense urban spaces, recreated in miniature form. Unlike city congestion, however, the ants cluster, collide and crawl on top of each other, despite their reputation as a highly organised, purposeful insect society. Perhaps the work may invite contemplation on parallels between animal and human forms of social organisation.

ANNKA KULTYS GALLERY presents a programme of online and VR exhibitions, augmented by invitation-only private events, and occupies a singular position within London’s contemporary art landscape as a commercial gallery dedicated entirely to digital, new-media, and technology-engaged artistic practices.

OFFICE HOURS
Wed — Sat | 12 — 6 pm
Sun — Tue | closed

◾ANNKA KULTYS GALLERY◾
www.annkakultys.com
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#KarinSander #AnnkaKultys #annkakultysgallery

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ANNKA KULTYS GALLERY is pleased to announce an exhibition by leading German artist Karin Sander. Featuring her new video work 696 Encounters / 696 Begegnungen (2026), the exhibition continues Sander’s established conceptual practice of intervening in and transforming environments and structures. It marks the artist’s return to London following her 2016 exhibition at the Whitechapel Gallery and her first solo show with ANNKA KULTYS GALLERY, a leading champion of new-media and digital art (9 October — 5 December 2026)

Karin Sander is an acclaimed conceptual artist who lives and works across Zurich, Switzerland and Berlin, Germany. Across a career spanning three decades, her extensive œuvre has encompassed a multitude of media, including sculpture, performance, architecture, photography and video. Her work is conceptual in the way that it often employs existing objects, spaces and environments, which are transformed through minimal intervention to alter perspectives on the familiar and everyday in the institutional environment. Following a major career retrospective at Reykjavík Art Museum, Iceland, this exhibition continues Sander’s longstanding engagement with technological practices.

ANNKA KULTYS GALLERY presents a programme of online and VR exhibitions, augmented by invitation-only private events, and occupies a singular position within London’s contemporary art landscape as a commercial gallery dedicated entirely to digital, new-media, and technology-engaged artistic practices.

OFFICE HOURS
Wed — Sat | 12 — 6 pm
Sun — Tue | closed

◾ANNKA KULTYS GALLERY◾
www.annkakultys.com
_____
#KarinSander #AnnkaKultys #annkakultysgallery

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Annka Kultys Gallery is delighted to announce ‘Qwen Stephanie Against Techfascism’, an exhibition from !Mediengruppe Bitnik @mediengruppe_bitnik presented across the gallery’s virtual space launched in 2022. Across four moving image works, the exhibition continues the collective’s interrogation of the unequal systems of power and control inherent on the internet through sermons on technofascism delivered by the fictional character Qwen Stefani, introducing us to a blueprint to resistance. Qwen Stephanie Against Techfascism marks !Mediengruppe Bitnik’s second exhibition with the gallery and coincides with Annka Kultys Gallery’s eleventh anniversary.

!Mediengruppe Bitnik is a contemporary artist duo comprising Carmen Weisskopf and Domagoj Smoljo who live and work in Berlin, Germany. They work both on and with the internet, with their practice crossing over from the digital to affect physical spaces, often intentionally employing loss of control to challenge established structures and mechanisms. This exhibition builds on Annka Kultys Gallery’s collaboration with the artists, following the five-channel video installation Are You Online Now?, exhibited from October–November 2017. Furthermore, it reflects the gallery’s more than decade-long dedication to digital, new-media and technology-engaged artistic practices, cemented by the introduction of Annka Kultys Phygital in 2022, a hybrid virtual-reality space that offers digital artists more experimental areas for display.

Video 1
!MEDIENGRUPPE BITNIK
Doomscroll against Techfascism #SabotageManual #AI #TechTok #Qwenstefani
2025
3-part video installation, Full-HD, sound, loop.
16 min 06 sec each
Aspect ratio 9:16
(!MGRUP002.25)
_____
#mediengruppebitnik annkakultysgallery annkakultys

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Looking back at ‘Are You Online Now?’ — !Mediengruppe Bitnik’s first solo exhibition with ANNKA KULTYS GALLERY, presented in London from 12 October — 11 November 2017.

The exhibition centred on ‘Ashley Madison Angels At Work in London’ (2017), a five-channel video installation developed from data released after the 2015 hack of Ashley Madison, the dating platform marketed to married people seeking affairs.

The breach revealed that Ashley Madison had created tens of thousands of female chatbots to communicate with its predominantly male users. !Mediengruppe Bitnik used the London data to give temporary physical presence to five of the 436 fembots active in the city, each identified by a name, age and location.

What made ‘Are You Online Now?’ particularly relevant was its examination of intimacy between humans and automated systems. Conversations presented as encounters with women were, in many cases, interactions with software designed to prolong engagement and generate revenue.

By bringing these otherwise invisible identities into the gallery, the installation collapsed the distance between the virtual platform and the city outside, making the mechanics of online intimacy visible.

Seen today, the work has acquired a different urgency. People now knowingly enter sustained exchanges with AI systems for companionship, emotional support and conversations that can take on a therapeutic character.

What !Mediengruppe Bitnik examined in 2017 — intimacy, trust and emotional attachment formed through interaction with a non-human agent — now sits within a much wider cultural shift. The question is no longer only whether the person on the other side of the screen is real, but what happens when we know that it is not, and continue the relationship nonetheless.

!Mediengruppe Bitnik is an artist collective working on and within the internet. Their practice examines networked systems, surveillance, digital economies and the changing relationship between human and machine.

Installation view of !Mediengruppe Bitnik, ‘Are You Online Now?’, at Annka Kultys Gallery, London, 2017. Photo: Damian Griffiths for Annka Kultys Gallery.
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#annkakultys #mediengruppebitnik

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Are you scared of Al?

This time we spoke with the multidisciplinary artist and musician @mikeygeorgeson at the Creative Intelligence Festival.

He talks about AI as an artistic collaborator and how this is shifting as the technology rapidly develops. Will we be subjugated the very thing we ourselves created?

#rabbitschoice #contemporaryart #aiart #aicollaboration #artandtech

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Looking back at ‘There’s Life Outside’ — Stine Deja’s second solo exhibition with ANNKA KULTYS GALLERY, presented in London from 27 September — 7 October 2017.

The exhibition transformed the gallery into a fragment of a living room. Vinyl-clad recliner chairs, gauze curtains and two constructed windows reproduced the language of a domestic interior through synthetic materials.

The windows did not open onto the outside world. Instead, the view was blocked by rows of Coca-Cola Life cans. The title ‘There’s Life Outside’ was therefore built into the installation itself: the possibility of an exterior remained present, but inaccessible, while “Life” returned as the name of a branded consumer product.

Across the exhibition, Deja @stine_deja examined the relationship between the natural and the manufactured, and the ways in which everyday environments are shaped by commercial and technological systems.

In ‘Self-service’ (2017), a screen was installed inside a supermarket trolley and accompanied by the repeated automated instruction to “scan the next item”. In 2017, when self-service checkouts were still relatively new, the work focused on the shift from an exchange between people to an interaction between customer and machine.

‘The Perfect Human’ (2015) revisited Jørgen Leth’s 1967 film of the same name. Deja relocated the human figure into the virtual space of the screen, where the body appeared at once connected, observed and isolated.

Seen today, ‘There’s Life Outside’ can be read in relation to the broader normalisation of automation, synthetic environments and digitally mediated experience within everyday life.

Stine Deja was born in 1986, she lives and works in Copenhagen, Denmark. Her practice spans video, installation and digital media, exploring the relationship between human behaviour and technological systems.

Installation view of Stine Deja ‘There’s Life Outside’ at Annka Kultys Gallery, London 2017. Photo: Annka Kultys Gallery (Damian Griffiths). Courtesy of the artist and ANNKA KULTYS GALLERY.
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#annkakultys #stinedeja #thereslifeoutside

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ARE YOU SCARED OF AI?

Share your thoughts!

#rabbitschoice #contemporaryart #art #art&tech #creative

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