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Art

New Art Exhibition Features Robot Influencer Alongside Works

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Today 10 October, Vilnius’ leading contemporary MO Museum has opened How to Feel Real. Art, Technology and Us, exploring how technology is changing the way we experience reality. This opening also features an unusual guest: Poland’s viral humanoid robot influencer Edward Warchocki.

●       Humanoid robot Edward will move through the museum and interact with visitors, respond to artworks, and take part in the opening program.
 

●       The showcase is not a traveling exhibition, but developed through an intensive co-creative process in collaboration with Germany’s ZKM | Center for Art and Media Karlsruhe, one of Europe’s leading institutions for media art.
 

●       It brings together more than 40 artists, from media art pioneers to contemporary artists working with AI, algorithms, and immersive technologies.
 

●       Among them are Nam June Paik with his famous Internet Dream, Christa Sommerer, Laurent Mignonneau, and Anna Ridler.

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Humanoid Influencer Edward Warchocki Is Heading to New Vilnius Exhibition, Asking What Does it Mean to Feel Real

Humanoid robot influencer Edward Warchocki at the Exhibition How to Feel Real © Mo Museum

October 2026 – Vilnius, Lithuania. Housed in a contemporary building designed by world-renowned architect Daniel Libeskind, MO Museum has become a leading force in the country’s modern cultural scene.

The new exhibition features landmark works from ZKM’s collection, which has a long-standing focus on Eastern Europe, and marks yet another collaboration with the MO Museum. How to Feel Real explores questions that are becoming increasingly urgent in a world shaped by technology: how do we feel real, and what does it mean to be alive?

One of its first visitors to see the artwork at MO Museum will be a humanoid robot from Poland.

Edward Warchocki, Poland’s first viral humanoid robot influencer, will join the MO Museum exhibition opening.

Built on a Unitree G1 humanoid platform and developed by Warsaw-based MERA Robotics, Warchocki has been given his own public persona, voice, and social media presence. In 2026, he moved from being a robotics project to an internet personality. Edward became a viral sensation after footage of him chasing wild boars through the streets of Warsaw spread online. He has since appeared in Poland’s Parliament, met senior politicians, and become a familiar figure on Polish television.

“Quite a few of the works in How to Feel Real explore artificial intelligence, automation, and the ways machines are increasingly taking on roles we once considered distinctly human. Bringing Edward into the museum is a playful extension of this idea, as his deliberately human-like and slightly absurd persona makes the questions raised by the exhibition tangible – inviting us to wonder why we are so eager to find the human in a machine,” said Milda Ivanauskienė, Director of MO Museum.

During the event, Edward will move through different spaces of the museum, interact with visitors, comment on artworks, and take part in the opening program in Lithuanian, English, and Polish languages.

Exhibition How to Feel Real © Domas Rimeika

“People keep asking me if I’m real, so when I heard about an exhibition asking what ‘real’ actually means, I thought: finally, someone is asking the right question. I’m coming to the beautiful Vilnius to see what the artists have to say – and, of course, to check whether they think I’m real,” said Edward Warchocki.

The exhibition moves beyond the familiar divide between techno-optimism and techno-pessimism. Alongside critical works about technology and power, visitors will encounter playful experiments, immersive environments and new aesthetic forms.

Organised around some of today’s most pressing themes – connection, automation, intelligence, body, and agency – the exhibition brings together works created predominantly from the 1990s to the present day. Together, they trace a conversation between artists’ early encounters with computers and the internet and contemporary responses to AI, and the growing digital mediation of everyday life.

“Our aim was to explore the latest technologies – including AI, quantum computing, robotics, and biotechnology – through the artists’ works. Art goes beyond the technology itself; it’s about broader questions regarding how we interact with technology and, thus, with the world,” said Philipp Ziegler, Head of Curatorial Department, ZKM | Center for Art and Media Karlsruhe.

More than 40 of the exhibition’s artists explore the shifting boundary between humans and technology. A definite highlight is the work Internet Dream from 1994 by media-art pioneer Nam June Paik. This massive media installation with 54 old CRT-monitors offers a glimpse into the era of the emerging global connectivity via the internet.

Another participant is the UK’s digital art studio Universal Everything, whose Infinity creates an endless stream of digital figures. Generated in real time by an algorithm, each figure combines different colours, textures, and body shapes, so no two are quite the same. The work has appeared in Germany’s ZKM, Italy’s Museo Nazionale della Scienza e della Tecnologia Leonardo da Vinci, and 180 Studios in London.

Christa Sommerer and Laurent Mignonneau are pioneers of interactive art, and their A-Volve is one of the works that established their international reputation. Visitors create virtual organisms through their own movements, then watch them interact, reproduce, and compete within a simulated ecosystem. The work won the Golden Nica for Interactive Art at Ars Electronica in 1994.

Anna Ridler from the UK similarly explores how machines learn from human-made material. In The Shell Record, she trained a generative AI system on images of shells she collected along the River Thames, turning the collection into moving-image works. The project connects the human act of collecting with the history of shells as stores of value and one of the earliest forms of currency.

How to Feel Real. Art, Technology and Us runs at MO Museum from 10 October 2026 to 29 August 2027.

For the Silo, Jarrod Barker.

Art

Radiant Geometries Exhibition: Vectors of Knowledge from Indigenous Americas 

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Moody Center for the Arts at Rice University  Announces for Fall 2026
On view September 4 to December 19, 2026, this ambitious group exhibition explores Indigenous knowledge systems and their longstanding relationship with math, science, and technology in the Americas.Eamon Ore-Giron, Black Medallion XIV (Inti), 2022. Mineral paint and flashe on linen, 198 x 258 in. © Eamon Ore-Giron 2022. Courtesy of the artist and James Cohan, New York. Photo: Charles White. 

July, 2026 (Houston, Texas) — Through a framing of North, Central, and South America as interconnected regions, Radiant Geometries: Vectors of Knowledge from the Indigenous Americas brings together contemporary Indigenous and Latin American artists whose practices illuminate knowledge as a living technology, through which the mathematical, metaphysical, and artistic realms converge. At a moment when the social and environmental consequences of technological advancement are prompting global debate, this selection of works—among them paintings, sculptures, textiles, video works, and site-specific commissions—conveys relational teachings rooted in the Americas.

Opening September 4, 2026, the exhibition features national and international artists, including Nanibah Chacon, Melissa Cody, Jordan Ann Craig, Patricia Domínguez, Sara Flores, Natalia Montoya Lecaros, Patrick Martinez, Cisco Merel, Caroline Monnet, and Eamon Ore-Giron, among others. 

  “At its core, Radiant Geometries centers Indigenous ways of knowing that continue to shape relationships to territories, waterways, and interspecies care,” said Noor Alé, Moody Center for the Arts Associate Curator. “By reconsidering the histories of mathematics, architecture, and science through Indigenous perspectives, the exhibition invites viewers to consider the enduring connections between cosmology, technology, and the living world.” Patricia Domínguez, Matrix Vegetal, 2021-22. Video 4K, 21:12 min. Commissioned by Screen City Biennial, with the support of Cecilia Brunson Projects and Galería Patricia Ready.

 Set on the campus of a leading research university, the Moody’s presentation includes artists whose works evoke the symbiotic relationship between art, math, technology, and science, often through the language of abstraction. Among them, Sara Flores’s paintings foreground the interdependence of all life forms and call attention to interspecies care; Patrick Martinez’s painted sculpture, inspired by the pre-Columbian murals of Cacaxtla, positions Indigenous architecture as sites of material knowledge and urban intelligence; Natalia Montoya Lecaros’s totemic sculptures draw on an Aymara ceremonial dance that honors agricultural cycles; Caroline Monnet’s Styrofoam installation etched with Anishinaabe iconography, reconsiders colonial legacies in architecture; Patricia Domínguez’s videos explore astronomy and plant intelligence to bridge spiritual and scientific divides; Cisco Merel’s totemic work references protective sigils found in Guna textile traditions; and Melissa Cody’s jacquard tapestry fuses Navajo textile traditions with computational aesthetics.  

In addition, newly commissioned works extend the visibility of knowledge as an evolving technology, illuminating its transmission across generations while continuously responding to the future. These works include an interactive sound installation with Diné designs from Nanibah Chacon; installation and paintings by Jordan Ann Craig that explore Cheyenne beadwork and parfleche designs drawn from museum collections in Texas and Colorado; and new paintings from Eamon Ore-Giron inspired by Maya ceramics in Rice University’s collection.  Sara Flores, Untitled (Shao Maya Punté Kené 1, 2022), 2022. Vegetal dyes on wild-cotton canvas, 59 x 122 3/8 in. Private Collection of Timothy C. Headington. Courtesy of the artist and The Shipibo Conibo Center. Photo © JSP Art Photography.  

“Through this compelling selection of works and complementary programming, we’re able to achieve the Moody’s mission to synthesize Rice’s academic resources and artists’ creative insight into meaningful connections and critical dialogue,” said Joel Thompson, Moody Center for the Arts Deputy Director.  Featured artists include Nanibah Chacon (Diné/Chicana) (b. 1980 in Gallup, New Mexico; lives in Albuquerque, New Mexico), Melissa Cody (Navajo/Diné) (b. 1983 in No Water Mesa, Arizona; lives in Long Beach, California), Jordan Ann Craig (Northern Cheyenne) (b. 1992 in San Jose, California; lives in Santa Fe, New Mexico), Patricia Domínguez (b. 1984 in Santiago de Chile; lives in Puchuncaví, Chile), Sara Flores (Shipibo-Konibo) (b. 1950 in Tambomayo, Peru; lives in Yarinacocha, Peru), Natalia Montoya Lecaros (Aymara) (b. 1994 in Iquique, Chile; lives in Santiago de Chile), Patrick Martinez (b. 1980 in Pasadena, California; lives in Los Angeles), Cisco Merel (b. 1981 in Panama City; lives in Panama City), Caroline Monnet (Anishinaabe/French) (b. 1985 in Ottawa, Canada; lives in Montreal), and Eamon Ore-Giron (b. 1973 in Tucson, Arizona; lives in Los Angeles), among others.    

The exhibition is curated by Noor Alé, Associate Curator. Graphic design is by Sébastien Aubin.    Radiant Geometries: Vectors of Knowledge from the Indigenous Americas is made possible by the Libbie Rice Shearn Moody Fund for the Arts and the Thomas D. and Pamela Riley Smith Endowment for the Moody Center for the Arts. Major support is provided by the City of Houston through the Houston Arts Alliance, the Elizabeth Lee Moody Excellence Fund, the H. Russell Pitman Fund for the Moody Center for the Arts, and the Moody Center for the Arts Founders Circle.     Special ProgrammingNatalia Montoya Lecaros, Tótems de emergencia, 2021. Series of modular MDF sculptures, with tempera paint, acrylic yarn, beads, lined cardboard, and bird feathers, 37 x 33 x 28 in. Courtesy of the artist and Judas Galería. 

For The Silo, Erin Rolfs.

Featured image– ORE-GIRON_Talking Shit with Macha’acuay, the Serpent of the Milky Way_2025_credit-Charles White

Art

Studio Visit With Canadian American Artist Suzy Lake

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Suzy Lake, A Natural Way to Draw, 1975.

Roughly once a month, I visit an artist’s studio for the ongoing series Studio Visits. I take iPhone photos of the corners and nooks of their studio, offering a more intimate look into a practice that usually takes place behind closed doors. I’ve said it before, and I’ll say it again: it’s such a gift to be invited into an artist’s studio, which often doubles as a kind of sanctuary for them.I don’t often visit photographers’ studios.

This changed a couple of weeks ago when I was invited to visit Suzy Lake at her studio in Toronto. I’m a huge fan of Lake, and I might have said as much a few times in our email correspondence, no doubt coming across as a crazed fan girl. But I’m a fan for good reason! An American-Canadian artist, Lake has been seminal in both countries for the last five decades. Her photographs combine self-portraiture and performance to comment on larger themes: political justice, the role of an artist, feminism, and aging.

She played a foundational role in shaping Conceptualism in Canada. There’s so much to admire in Lake’s career, and the work itself is equally compelling. So here I am, at Lake’s studio, one of the foremost photographers in Canada, and I am taking pictures. As you can imagine, I am very self-conscious. I start clicking away on my iPhone, no doubt diminishing the medium with my lack of artistic ability. (Of course, this series isn’t about the photos themselves, but a desire to document and archive important artist practices.)

For Lake, the act of photographing is important. The images are complex and layered. The photograph doesn’t happen the moment the shutter clicks, but in the process, creation, and performance that spans the duration of the photograph.For example, in her seminal series, Extended Breathing (2008-14) [see image below], Lake stands still for long enough to be picked up by the long exposure—at least 30 minutes. These photographs become touchstones for how we are remembered, the self as a constant, as life moves around us. Lake is asserting agency over the medium, conveying a powerful message through process.

Lake’s first solo exhibition just opened at Bradley Ertaskiran in Montreal, with photographs spanning her entire career. The exhibition, titled “Distilling Resistance,“is on until November 1st and is well worth the trip to see it.

Artist Bio: Suzy Lake is an American-Canadian artist based in Toronto, Canada. Lake’s work explores the politics of body and identity through performance, video and photography. Her later work addresses the ageing body, questioning structures of power politically and poetically. Lake’s work has been presented extensively across Canada and internationally at the Centre Pompidou-Metz, Museum of Modern Art (New York), Metropolitan Museum of Art (New York), National Gallery of Canada (Ottawa), Brandhorst Museum (Munich), Montreal Museum of Fine Arts, Vancouver Art Gallery, Hayward Gallery (London), Santa Monica Museum of Art, Los Angeles Museum of Contemporary Art, the Musée d’art contemporain de Montréal, and the Art Gallery of Windsor.

For the Silo, Tatum Dooley.

Featured image- Suzy-Lake_1983_Pre-Resolution_Using-the-Ordinances-at-Hand

Art

Video Art & Culture- The Distinctive Features Of The Medium

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VIDEO ART. The name is equivocal. A good name. It leaves open all the questions  and asks them anyway. Is this an art form, a new genre? An anthology of valued activity conducted in a particular arena defined by display on a cathode ray tube? The kind of video made by a special class of people—artists—whose works are exhibited primarily in what is called ‘the art world’–ARTIST’S VIDEO?

An inspection of the names in the catalogue gives the easy and not quite sufficient answer that is this last we are considering, ARTIST’S VIDEO. But is this a class apart?
Read the full original and historic essay [in appropriately PDF electronic form] by David Antin by clicking here.

Special thanks to http://pzacad.pitzer.edu/ for archiving the original essay.

Art

Light, Interviews, Books to Inspire, And A Call To Artists From Rome

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Consider for a moment the nature of light and time. Fleeting, infinite, unknowable, and yet familiar as our own minds. We long for more time while cursing its slow progress. Temporal matters dictate every aspect of our human lives. We are beholden to the times in which we live. We cannot grasp light and yet we are surrounded by it. When we enter into the unknown, art is a light guiding us toward better days ahead.

Mary Temple's "unsolved red white and blue"
Mary Temple’s “unsolved red white and blue”

Mary Temple has the ability to incorporate all of this into her artwork in the most surprising ways. She can capture a moment and freeze it for all eternity with the stroke of her brush. Her ethereal public art painted on existing architecture preserves the memory of a moment of light. Temple also focuses on the times in which we live, using her art to engage in global political discussion. Her series Currency depicted world leaders in such a way that ranked them according to their ability to achieve progress in matters of world peace. Temple uses time as a dimension in her work. Currency was an up to the minute newsfeed told through hand drawn portraiture, while her public artwork uses light to capture time and hold it still for all to see.

Susan Silton Billboard commission
Susan Silton Billboard commission

Susan Silton lets our life and times inform her art. Through performance, installation, video, photography, text, audio, participation and print-based projects, Silton speaks to the turbulence around us. She fuses humor, unease, beauty with the intention of shining a light on the failures and triumphs of our moment on the planet. Her video work “Turn the Beat Around” was a direct response to the 2016 attack on an Orlando, Florida nightclub. Her art is a conduit to process grief, come to terms with the violence in our society, and seek common ground.

Writer Murong Xuecun once said, “Literature is not at the service of the government; on the contrary governments should do everything in their power to create a favorable climate for literature.” In these uncertain political times, what are you reading? Click here to contribute your books in the comments  or use the comments feature at the end of this post. Tony Maslic, is reading “The Dispossessed” by Ursula Le Guin. Lian Brehm has turned to Suzi Gablick’s “The Reenchantment of Art” while artist Mary Temple cites the works of Chimamanda Ngozi Adichie, as well as her TEDx talk We Should all be Feminists as necessary fuel.

The Rome Glocal Brightness 2017 Light Festival has issued a call for artists. The Festival illuminates the sixth district of Rome allowing viewers to experience undiscovered corners of the city.

This bringing of light does not seek to diminish the dark, but to emphasize that the darkness can become a canvas in itself.
As we stand together at the edge of a new ravine, let us not fear what may be but embrace what is in each moment and never stop reaching toward the light. For the Silo, Brainard Carey.

Brainard Carey is an artist, author and educator. You can attend one of his free webinars for artists here. He also has an educational platform for artists called Praxis Center.

*featured image- Mary Temple “Currency”Series