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Artists on Artists: Anicka Yi (@anickayi_studio) explores the exhibition “Paul Thek: Dream of Vanishing”—now on view at #PaceNewYork—with what psychologists call a “lantern consciousness," inviting open association and reflection.
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In Thek’s vivid paintings, visceral sculptures, and intimate notebook pages, Yi finds a kindred spirit, one whose artistic concerns have echoes in her own practice: “I feel a deep kinship here.”
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⭐️ Paul Thek: Dream of Vanishing
🗓️ Through August 14
🗺️ 540 West 25th Street
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Tap the link in bio to view the full film.

#AnickaYi #PaulThek #ContemporaryArt #PaceGallery

Experimental, generative, interdependent. Anicka Yi's first large-scale outdoor project, "Message from the Mud," opens May 17 at Storm King.

I’m pleased to share that my work, which has long engaged biological systems, machine intelligence, and the porous boundaries between them, will now be represented by @pacegallery, in addition to my continued representation with Gladstone Gallery, 47 Canal, and Esther Schipper. Pace has a sustained history of supporting artists who foreground scientific inquiry as part of their practice, and who understand technology not simply as a tool, but as a condition that shapes how we perceive and make sense of the world. I’m looking forward to continuing this line of exploration in dialogue with the gallery.

I want to thank all of my collaborators, supporters and the galleries that have stood by my side since the beginning.
#47canal, @gladstone.gallery &@estherschipper

1: Studio visit with painter Hao Liang, discussing kelp and material systems. @hao___liang
2: Gegenwartskunst, frying flowers with artist Tenzing Barshee. 
@gegenwartskunst_stuttgart @tenzingbarshee
3: Video from The Kitchen production (2015), developing the “super bacteria” petri dish work. @thekitchen_nyc
4: Conversation with Caroline A. Jones at the Guggenheim. @jeff_vandermeer123 @guggenheim
5: Kunsthalle Basel exhibition (2015). @kunsthallebase

I’m pleased to share that my work, which has long engaged biological systems, machine intelligence, and the porous boundaries between them, will now be represented by @pacegallery, in addition to my continued representation with Gladstone Gallery, 47 Canal, and Esther Schipper. Pace has a sustained history of supporting artists who foreground scientific inquiry as part of their practice, and who understand technology not simply as a tool, but as a condition that shapes how we perceive and make sense of the world. I’m looking forward to continuing this line of exploration in dialogue with the gallery.

I want to thank all of my collaborators, supporters and the galleries that have stood by my side since the beginning.
#47canal, @gladstone.gallery &@estherschipper

1: Studio visit with painter Hao Liang, discussing kelp and material systems. @hao___liang
2: Gegenwartskunst, frying flowers with artist Tenzing Barshee. 
@gegenwartskunst_stuttgart @tenzingbarshee
3: Video from The Kitchen production (2015), developing the “super bacteria” petri dish work. @thekitchen_nyc
4: Conversation with Caroline A. Jones at the Guggenheim. @jeff_vandermeer123 @guggenheim
5: Kunsthalle Basel exhibition (2015). @kunsthallebase

I’m pleased to share that my work, which has long engaged biological systems, machine intelligence, and the porous boundaries between them, will now be represented by @pacegallery, in addition to my continued representation with Gladstone Gallery, 47 Canal, and Esther Schipper. Pace has a sustained history of supporting artists who foreground scientific inquiry as part of their practice, and who understand technology not simply as a tool, but as a condition that shapes how we perceive and make sense of the world. I’m looking forward to continuing this line of exploration in dialogue with the gallery.

I want to thank all of my collaborators, supporters and the galleries that have stood by my side since the beginning.
#47canal, @gladstone.gallery &@estherschipper

1: Studio visit with painter Hao Liang, discussing kelp and material systems. @hao___liang
2: Gegenwartskunst, frying flowers with artist Tenzing Barshee. 
@gegenwartskunst_stuttgart @tenzingbarshee
3: Video from The Kitchen production (2015), developing the “super bacteria” petri dish work. @thekitchen_nyc
4: Conversation with Caroline A. Jones at the Guggenheim. @jeff_vandermeer123 @guggenheim
5: Kunsthalle Basel exhibition (2015). @kunsthallebase

I’m pleased to share that my work, which has long engaged biological systems, machine intelligence, and the porous boundaries between them, will now be represented by @pacegallery, in addition to my continued representation with Gladstone Gallery, 47 Canal, and Esther Schipper. Pace has a sustained history of supporting artists who foreground scientific inquiry as part of their practice, and who understand technology not simply as a tool, but as a condition that shapes how we perceive and make sense of the world. I’m looking forward to continuing this line of exploration in dialogue with the gallery.

I want to thank all of my collaborators, supporters and the galleries that have stood by my side since the beginning.
#47canal, @gladstone.gallery &@estherschipper

1: Studio visit with painter Hao Liang, discussing kelp and material systems. @hao___liang
2: Gegenwartskunst, frying flowers with artist Tenzing Barshee. 
@gegenwartskunst_stuttgart @tenzingbarshee
3: Video from The Kitchen production (2015), developing the “super bacteria” petri dish work. @thekitchen_nyc
4: Conversation with Caroline A. Jones at the Guggenheim. @jeff_vandermeer123 @guggenheim
5: Kunsthalle Basel exhibition (2015). @kunsthallebase

I’m pleased to share that my work, which has long engaged biological systems, machine intelligence, and the porous boundaries between them, will now be represented by @pacegallery, in addition to my continued representation with Gladstone Gallery, 47 Canal, and Esther Schipper. Pace has a sustained history of supporting artists who foreground scientific inquiry as part of their practice, and who understand technology not simply as a tool, but as a condition that shapes how we perceive and make sense of the world. I’m looking forward to continuing this line of exploration in dialogue with the gallery.

I want to thank all of my collaborators, supporters and the galleries that have stood by my side since the beginning.
#47canal, @gladstone.gallery &@estherschipper

1: Studio visit with painter Hao Liang, discussing kelp and material systems. @hao___liang
2: Gegenwartskunst, frying flowers with artist Tenzing Barshee. 
@gegenwartskunst_stuttgart @tenzingbarshee
3: Video from The Kitchen production (2015), developing the “super bacteria” petri dish work. @thekitchen_nyc
4: Conversation with Caroline A. Jones at the Guggenheim. @jeff_vandermeer123 @guggenheim
5: Kunsthalle Basel exhibition (2015). @kunsthallebase

We developed a limited edition trilogy of chocolate bars in collaboration with Casa Bosques, released in conjunction with the New Museum’s reopening. Each bar stages a distinct encounter with cacao, heirloom, acriollado, and hybridized, composed with ingredients that index early life systems such as fungi, algae, mineral resin, and fermentation.

Rather than approaching chocolate as confection, we treated it as a carrier medium. Flavor becomes a site of biological memory. The vegetal sharpness of algae, the damp volatility of mushroom, the slow intelligence of miso. Cast in a pre-Cambrian morphology, the bars operate as sensory artifacts.

Titles:Metamorphosis, Futurability, and Animacies
Collaboration: @casabosqueschocolate @rafaelsavvy

We developed a limited edition trilogy of chocolate bars in collaboration with Casa Bosques, released in conjunction with the New Museum’s reopening. Each bar stages a distinct encounter with cacao, heirloom, acriollado, and hybridized, composed with ingredients that index early life systems such as fungi, algae, mineral resin, and fermentation.

Rather than approaching chocolate as confection, we treated it as a carrier medium. Flavor becomes a site of biological memory. The vegetal sharpness of algae, the damp volatility of mushroom, the slow intelligence of miso. Cast in a pre-Cambrian morphology, the bars operate as sensory artifacts.

Titles:Metamorphosis, Futurability, and Animacies
Collaboration: @casabosqueschocolate @rafaelsavvy

We developed a limited edition trilogy of chocolate bars in collaboration with Casa Bosques, released in conjunction with the New Museum’s reopening. Each bar stages a distinct encounter with cacao, heirloom, acriollado, and hybridized, composed with ingredients that index early life systems such as fungi, algae, mineral resin, and fermentation.

Rather than approaching chocolate as confection, we treated it as a carrier medium. Flavor becomes a site of biological memory. The vegetal sharpness of algae, the damp volatility of mushroom, the slow intelligence of miso. Cast in a pre-Cambrian morphology, the bars operate as sensory artifacts.

Titles:Metamorphosis, Futurability, and Animacies
Collaboration: @casabosqueschocolate @rafaelsavvy

We developed a limited edition trilogy of chocolate bars in collaboration with Casa Bosques, released in conjunction with the New Museum’s reopening. Each bar stages a distinct encounter with cacao, heirloom, acriollado, and hybridized, composed with ingredients that index early life systems such as fungi, algae, mineral resin, and fermentation.

Rather than approaching chocolate as confection, we treated it as a carrier medium. Flavor becomes a site of biological memory. The vegetal sharpness of algae, the damp volatility of mushroom, the slow intelligence of miso. Cast in a pre-Cambrian morphology, the bars operate as sensory artifacts.

Titles:Metamorphosis, Futurability, and Animacies
Collaboration: @casabosqueschocolate @rafaelsavvy

We developed a limited edition trilogy of chocolate bars in collaboration with Casa Bosques, released in conjunction with the New Museum’s reopening. Each bar stages a distinct encounter with cacao, heirloom, acriollado, and hybridized, composed with ingredients that index early life systems such as fungi, algae, mineral resin, and fermentation.

Rather than approaching chocolate as confection, we treated it as a carrier medium. Flavor becomes a site of biological memory. The vegetal sharpness of algae, the damp volatility of mushroom, the slow intelligence of miso. Cast in a pre-Cambrian morphology, the bars operate as sensory artifacts.

Titles:Metamorphosis, Futurability, and Animacies
Collaboration: @casabosqueschocolate @rafaelsavvy

We are participating in Data Dreams: Contemporary Art in the Age of AI at the Museum of Contemporary Art Australia. The exhibition brings together artists working across computational systems, data, and machine learning to examine how these conditions shape perception and experience.

The presentation includes No External Will (2025), Floating Points (2025), and Bending Willow Branches (2025), constructed from PMMA optical fiber, LEDs, silicone, acrylic, epoxy, aluminium, stainless steel, steel, brass, motors, and microcontrollers. These works are shown alongside the video Each Branch Of Coral Holds Up The Light Of The Moon (2024), a single-channel work running 16 minutes and 4 seconds.

Each work is configured through a combination of light, material, and programmed movement. The installations operate as discrete units within the space, with behavior shaped by internal systems and environmental conditions.

@mca_australia @janeclaired @anna.davis.pix @tim.riley.walsh

We are participating in Data Dreams: Contemporary Art in the Age of AI at the Museum of Contemporary Art Australia. The exhibition brings together artists working across computational systems, data, and machine learning to examine how these conditions shape perception and experience.

The presentation includes No External Will (2025), Floating Points (2025), and Bending Willow Branches (2025), constructed from PMMA optical fiber, LEDs, silicone, acrylic, epoxy, aluminium, stainless steel, steel, brass, motors, and microcontrollers. These works are shown alongside the video Each Branch Of Coral Holds Up The Light Of The Moon (2024), a single-channel work running 16 minutes and 4 seconds.

Each work is configured through a combination of light, material, and programmed movement. The installations operate as discrete units within the space, with behavior shaped by internal systems and environmental conditions.

@mca_australia @janeclaired @anna.davis.pix @tim.riley.walsh

We are participating in Data Dreams: Contemporary Art in the Age of AI at the Museum of Contemporary Art Australia. The exhibition brings together artists working across computational systems, data, and machine learning to examine how these conditions shape perception and experience.

The presentation includes No External Will (2025), Floating Points (2025), and Bending Willow Branches (2025), constructed from PMMA optical fiber, LEDs, silicone, acrylic, epoxy, aluminium, stainless steel, steel, brass, motors, and microcontrollers. These works are shown alongside the video Each Branch Of Coral Holds Up The Light Of The Moon (2024), a single-channel work running 16 minutes and 4 seconds.

Each work is configured through a combination of light, material, and programmed movement. The installations operate as discrete units within the space, with behavior shaped by internal systems and environmental conditions.

@mca_australia @janeclaired @anna.davis.pix @tim.riley.walsh

We are participating in Data Dreams: Contemporary Art in the Age of AI at the Museum of Contemporary Art Australia. The exhibition brings together artists working across computational systems, data, and machine learning to examine how these conditions shape perception and experience.

The presentation includes No External Will (2025), Floating Points (2025), and Bending Willow Branches (2025), constructed from PMMA optical fiber, LEDs, silicone, acrylic, epoxy, aluminium, stainless steel, steel, brass, motors, and microcontrollers. These works are shown alongside the video Each Branch Of Coral Holds Up The Light Of The Moon (2024), a single-channel work running 16 minutes and 4 seconds.

Each work is configured through a combination of light, material, and programmed movement. The installations operate as discrete units within the space, with behavior shaped by internal systems and environmental conditions.

@mca_australia @janeclaired @anna.davis.pix @tim.riley.walsh

We are participating in Data Dreams: Contemporary Art in the Age of AI at the Museum of Contemporary Art Australia. The exhibition brings together artists working across computational systems, data, and machine learning to examine how these conditions shape perception and experience.

The presentation includes No External Will (2025), Floating Points (2025), and Bending Willow Branches (2025), constructed from PMMA optical fiber, LEDs, silicone, acrylic, epoxy, aluminium, stainless steel, steel, brass, motors, and microcontrollers. These works are shown alongside the video Each Branch Of Coral Holds Up The Light Of The Moon (2024), a single-channel work running 16 minutes and 4 seconds.

Each work is configured through a combination of light, material, and programmed movement. The installations operate as discrete units within the space, with behavior shaped by internal systems and environmental conditions.

@mca_australia @janeclaired @anna.davis.pix @tim.riley.walsh

We are pleased to be included in New Humans: Memories of the Future, the inaugural exhibition of the New Museum’s expanded building. The exhibition brings together artists, scientists, and writers to examine how technological change continues to reshape definitions of the human.

Our aerobes, AI-powered autonomous flying machines first exhibited at Tate Modern, are presented here for the first time in New York. Developed as autonomous aerial forms, they move through the space using onboard systems that generate variable paths and behaviors. The work unfolds over time in relation to the architecture and its conditions.

Host @newmuseum
Software Engineering @sitara.systems

Support
@trixie133 
@ecbigdaddy
@moon.heejung
#teresatsai
@andrew.jw.kim
@virginiaschroth
@chelseamom65
@simpkinsbigdaddy
@pkahng

Gallery Partners
@gladstone.gallery
@estherschippergallery
47 Canal

Special Thanks
@massimilianogioni
@eriksavercool we love the cake!

We are pleased to be included in New Humans: Memories of the Future, the inaugural exhibition of the New Museum’s expanded building. The exhibition brings together artists, scientists, and writers to examine how technological change continues to reshape definitions of the human.

Our aerobes, AI-powered autonomous flying machines first exhibited at Tate Modern, are presented here for the first time in New York. Developed as autonomous aerial forms, they move through the space using onboard systems that generate variable paths and behaviors. The work unfolds over time in relation to the architecture and its conditions.

Host @newmuseum
Software Engineering @sitara.systems

Support
@trixie133 
@ecbigdaddy
@moon.heejung
#teresatsai
@andrew.jw.kim
@virginiaschroth
@chelseamom65
@simpkinsbigdaddy
@pkahng

Gallery Partners
@gladstone.gallery
@estherschippergallery
47 Canal

Special Thanks
@massimilianogioni
@eriksavercool we love the cake!

We are pleased to be included in New Humans: Memories of the Future, the inaugural exhibition of the New Museum’s expanded building. The exhibition brings together artists, scientists, and writers to examine how technological change continues to reshape definitions of the human.

Our aerobes, AI-powered autonomous flying machines first exhibited at Tate Modern, are presented here for the first time in New York. Developed as autonomous aerial forms, they move through the space using onboard systems that generate variable paths and behaviors. The work unfolds over time in relation to the architecture and its conditions.

Host @newmuseum
Software Engineering @sitara.systems

Support
@trixie133 
@ecbigdaddy
@moon.heejung
#teresatsai
@andrew.jw.kim
@virginiaschroth
@chelseamom65
@simpkinsbigdaddy
@pkahng

Gallery Partners
@gladstone.gallery
@estherschippergallery
47 Canal

Special Thanks
@massimilianogioni
@eriksavercool we love the cake!

We are pleased to be included in New Humans: Memories of the Future, the inaugural exhibition of the New Museum’s expanded building. The exhibition brings together artists, scientists, and writers to examine how technological change continues to reshape definitions of the human.

Our aerobes, AI-powered autonomous flying machines first exhibited at Tate Modern, are presented here for the first time in New York. Developed as autonomous aerial forms, they move through the space using onboard systems that generate variable paths and behaviors. The work unfolds over time in relation to the architecture and its conditions.

Host @newmuseum
Software Engineering @sitara.systems

Support
@trixie133 
@ecbigdaddy
@moon.heejung
#teresatsai
@andrew.jw.kim
@virginiaschroth
@chelseamom65
@simpkinsbigdaddy
@pkahng

Gallery Partners
@gladstone.gallery
@estherschippergallery
47 Canal

Special Thanks
@massimilianogioni
@eriksavercool we love the cake!

Inaugurating the reopened @newmuseum, “New Humans: Memories of the Future” explores how artists across the twentieth and twenty-first centuries have reimagined what it means to be human amid sweeping technological change.
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The exhibition features visionary works by Jean Dubuffet, Kiki Kogelnik, Paul Thek, and @anickayi_studio, among more than 150 international artists shaping new perspectives on humanity’s future.
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#NewMuseum #NewHumans #MuseumOpening #ContemporaryArt

1 Anicka Yi, “In Love with the World,” 2021 © Anicka Yi
2-4 Exhibition view: New Humans: Memories of the Future, 2026.New Museum, New York. Courtesy New Museum. Photo: Dario Lasagni
5 Paul Thek, “Untitled from the series Technological Reliquaries,” c.1966-67 © Paul thek
6 Kiki Kogelnik, Robots, 1966 © The Kiki Kogelnik Foundation

Inaugurating the reopened @newmuseum, “New Humans: Memories of the Future” explores how artists across the twentieth and twenty-first centuries have reimagined what it means to be human amid sweeping technological change.
-
The exhibition features visionary works by Jean Dubuffet, Kiki Kogelnik, Paul Thek, and @anickayi_studio, among more than 150 international artists shaping new perspectives on humanity’s future.
-
#NewMuseum #NewHumans #MuseumOpening #ContemporaryArt

1 Anicka Yi, “In Love with the World,” 2021 © Anicka Yi
2-4 Exhibition view: New Humans: Memories of the Future, 2026.New Museum, New York. Courtesy New Museum. Photo: Dario Lasagni
5 Paul Thek, “Untitled from the series Technological Reliquaries,” c.1966-67 © Paul thek
6 Kiki Kogelnik, Robots, 1966 © The Kiki Kogelnik Foundation

Inaugurating the reopened @newmuseum, “New Humans: Memories of the Future” explores how artists across the twentieth and twenty-first centuries have reimagined what it means to be human amid sweeping technological change.
-
The exhibition features visionary works by Jean Dubuffet, Kiki Kogelnik, Paul Thek, and @anickayi_studio, among more than 150 international artists shaping new perspectives on humanity’s future.
-
#NewMuseum #NewHumans #MuseumOpening #ContemporaryArt

1 Anicka Yi, “In Love with the World,” 2021 © Anicka Yi
2-4 Exhibition view: New Humans: Memories of the Future, 2026.New Museum, New York. Courtesy New Museum. Photo: Dario Lasagni
5 Paul Thek, “Untitled from the series Technological Reliquaries,” c.1966-67 © Paul thek
6 Kiki Kogelnik, Robots, 1966 © The Kiki Kogelnik Foundation

Inaugurating the reopened @newmuseum, “New Humans: Memories of the Future” explores how artists across the twentieth and twenty-first centuries have reimagined what it means to be human amid sweeping technological change.
-
The exhibition features visionary works by Jean Dubuffet, Kiki Kogelnik, Paul Thek, and @anickayi_studio, among more than 150 international artists shaping new perspectives on humanity’s future.
-
#NewMuseum #NewHumans #MuseumOpening #ContemporaryArt

1 Anicka Yi, “In Love with the World,” 2021 © Anicka Yi
2-4 Exhibition view: New Humans: Memories of the Future, 2026.New Museum, New York. Courtesy New Museum. Photo: Dario Lasagni
5 Paul Thek, “Untitled from the series Technological Reliquaries,” c.1966-67 © Paul thek
6 Kiki Kogelnik, Robots, 1966 © The Kiki Kogelnik Foundation

Inaugurating the reopened @newmuseum, “New Humans: Memories of the Future” explores how artists across the twentieth and twenty-first centuries have reimagined what it means to be human amid sweeping technological change.
-
The exhibition features visionary works by Jean Dubuffet, Kiki Kogelnik, Paul Thek, and @anickayi_studio, among more than 150 international artists shaping new perspectives on humanity’s future.
-
#NewMuseum #NewHumans #MuseumOpening #ContemporaryArt

1 Anicka Yi, “In Love with the World,” 2021 © Anicka Yi
2-4 Exhibition view: New Humans: Memories of the Future, 2026.New Museum, New York. Courtesy New Museum. Photo: Dario Lasagni
5 Paul Thek, “Untitled from the series Technological Reliquaries,” c.1966-67 © Paul thek
6 Kiki Kogelnik, Robots, 1966 © The Kiki Kogelnik Foundation

Inaugurating the reopened @newmuseum, “New Humans: Memories of the Future” explores how artists across the twentieth and twenty-first centuries have reimagined what it means to be human amid sweeping technological change.
-
The exhibition features visionary works by Jean Dubuffet, Kiki Kogelnik, Paul Thek, and @anickayi_studio, among more than 150 international artists shaping new perspectives on humanity’s future.
-
#NewMuseum #NewHumans #MuseumOpening #ContemporaryArt

1 Anicka Yi, “In Love with the World,” 2021 © Anicka Yi
2-4 Exhibition view: New Humans: Memories of the Future, 2026.New Museum, New York. Courtesy New Museum. Photo: Dario Lasagni
5 Paul Thek, “Untitled from the series Technological Reliquaries,” c.1966-67 © Paul thek
6 Kiki Kogelnik, Robots, 1966 © The Kiki Kogelnik Foundation

Watch as Anicka Yi (@anickayi_studio) and Josh Kline (@joshklinejoshkline) discuss ‘Studio Visit’—their curatorial project that doubles as an exhibition and an art installation.

‘Studio Visit’ is presented in partnership with @performance.space.new.york. The gallery is proud to support the organization’s mission and future programming.

Plan your visit to @hauserwirth New York, Wooster Street through 11 April.

Meet The Artist: @AnickaYi_Studio for One Triton Square, commissioned by @BritishLandplc & Royal London Asset Management

Informed by scientific research, biology, and perfumers, Anicka Yi has produced a unique body of work over the past decade at the intersection of politics and macrobiotics. Her practice questions the increasingly hazy taxonomic distinctions between what is human, animal, plant and machine, and is the result of an alchemical process of experimentation that explores often incompatible materials. She collaborates with researchers to create media that is often inherently political, and delves into the cultural conditioning of sense and perception in a way she describes as a “biopolitics of the senses.”

Yi’s work has been the subject of numerous solo exhibitions at institutions around the world, including the @leeummuseumofart; Seoul; @pirelli_hangarbicocca, Milan; @Tate Modern, London; the Solomon R. @guggenheim; and the @mitlistarts Cambridge, Massachusetts; among many others. 

The Ediacaran Swimmers, 2025

The Ediacaran Swimmers is artist Anicka Yi’s first permanent commission in the UK, expanding her ongoing series of Winogradsky-inspired works first shown at the Venice Biennale in 2019. This monumental lightbox merges living microbial imagery from Yi’s New York studio with a machine-learning model trained on earlier works, creating a composition that blurs the boundaries between organic and synthetic systems.

Drawing on microbiologist Sergei Winogradsky’s early 20th-century soil ecosystems, Yi reimagines these forms as speculative hybrids where biological and technological worlds evolve together. Iron-rich ambers and steely greys nod to London’s industrial sediment, while ochres hint at microbial metabolic activity. Acrylic overlays echo both circuit boards and unicellular structures, and resin-filled glass vessels suggest incubators of emerging life.

Curated by New Public

Video by @CloseUpProductions

#NewPublicProjects #OneTritonSquare #AnickaYi #RegentsPlace #BritishLand #RoyalLondonAssetManagement #PublicArt

DOUBLE 50 / YOU ARE SO SPECIAL  Congrats on your 50th issue! Thank you for the cover. Photography @shahryar.nashat  Styling @hisato_tasaka  Production @val.dgn Jacket, trousers and sunglasses @__doublet__ Special thanks @_adamlinder_

Everything comes together in what Yi describes as “collective intelligence”. Instead of the artist as a lone genius, she sees herself as part of a network of collaborators. ‘I don’t approach these fields as an expert, but as a participant in an ecology of shared, if unstable, inquiry’, she says. Taking her exploration even further, Yi created her own AI software Emptiness, which acts as both a tool and a creative partner. Trained on over a decade of her work, it generates visual content and makes connections she might not have imagined herself. For the artist, it’s not just a program, it’s part of her studio, almost like brainstorming with another artist.

Read the full feature via minimalcollective.digital (or link in bio)

Words: @dinomedifatto

Everything comes together in what Yi describes as “collective intelligence”. Instead of the artist as a lone genius, she sees herself as part of a network of collaborators. ‘I don’t approach these fields as an expert, but as a participant in an ecology of shared, if unstable, inquiry’, she says. Taking her exploration even further, Yi created her own AI software Emptiness, which acts as both a tool and a creative partner. Trained on over a decade of her work, it generates visual content and makes connections she might not have imagined herself. For the artist, it’s not just a program, it’s part of her studio, almost like brainstorming with another artist.

Read the full feature via minimalcollective.digital (or link in bio)

Words: @dinomedifatto

Everything comes together in what Yi describes as “collective intelligence”. Instead of the artist as a lone genius, she sees herself as part of a network of collaborators. ‘I don’t approach these fields as an expert, but as a participant in an ecology of shared, if unstable, inquiry’, she says. Taking her exploration even further, Yi created her own AI software Emptiness, which acts as both a tool and a creative partner. Trained on over a decade of her work, it generates visual content and makes connections she might not have imagined herself. For the artist, it’s not just a program, it’s part of her studio, almost like brainstorming with another artist.

Read the full feature via minimalcollective.digital (or link in bio)

Words: @dinomedifatto

Everything comes together in what Yi describes as “collective intelligence”. Instead of the artist as a lone genius, she sees herself as part of a network of collaborators. ‘I don’t approach these fields as an expert, but as a participant in an ecology of shared, if unstable, inquiry’, she says. Taking her exploration even further, Yi created her own AI software Emptiness, which acts as both a tool and a creative partner. Trained on over a decade of her work, it generates visual content and makes connections she might not have imagined herself. For the artist, it’s not just a program, it’s part of her studio, almost like brainstorming with another artist.

Read the full feature via minimalcollective.digital (or link in bio)

Words: @dinomedifatto

In recent years, people have developed a growing fascination with the communicational and world-building capabilities of plants, fungi, and other non-human species, from the problem-solving abilities of slime moulds to the underground communication networks of trees. This exploration of alternative forms of intelligence mirrors more profound questions about how we perceive the world around us, and it’s where the artist Anicka Yi roots her work. 

The Korean-American conceptual artist is recognised for her boundary-pushing work blending biology, technology, and sensory experiences. Through bacteria, machines, and biomimicry, Yi explores a broader idea of intelligence that includes non-human and technological forms. ‘Intelligence is not confined to human consciousness or bodies’, she clarifies over e-mail. Her art questions the role of the artist and raises a provocative question: does art still need an artist to be creative?

Read the full feature via minimalcollective.digital (or link in bio)

Words: @dinomedifatto
Design: @ozon.studio

In recent years, people have developed a growing fascination with the communicational and world-building capabilities of plants, fungi, and other non-human species, from the problem-solving abilities of slime moulds to the underground communication networks of trees. This exploration of alternative forms of intelligence mirrors more profound questions about how we perceive the world around us, and it’s where the artist Anicka Yi roots her work. 

The Korean-American conceptual artist is recognised for her boundary-pushing work blending biology, technology, and sensory experiences. Through bacteria, machines, and biomimicry, Yi explores a broader idea of intelligence that includes non-human and technological forms. ‘Intelligence is not confined to human consciousness or bodies’, she clarifies over e-mail. Her art questions the role of the artist and raises a provocative question: does art still need an artist to be creative?

Read the full feature via minimalcollective.digital (or link in bio)

Words: @dinomedifatto
Design: @ozon.studio

In recent years, people have developed a growing fascination with the communicational and world-building capabilities of plants, fungi, and other non-human species, from the problem-solving abilities of slime moulds to the underground communication networks of trees. This exploration of alternative forms of intelligence mirrors more profound questions about how we perceive the world around us, and it’s where the artist Anicka Yi roots her work. 

The Korean-American conceptual artist is recognised for her boundary-pushing work blending biology, technology, and sensory experiences. Through bacteria, machines, and biomimicry, Yi explores a broader idea of intelligence that includes non-human and technological forms. ‘Intelligence is not confined to human consciousness or bodies’, she clarifies over e-mail. Her art questions the role of the artist and raises a provocative question: does art still need an artist to be creative?

Read the full feature via minimalcollective.digital (or link in bio)

Words: @dinomedifatto
Design: @ozon.studio

In recent years, people have developed a growing fascination with the communicational and world-building capabilities of plants, fungi, and other non-human species, from the problem-solving abilities of slime moulds to the underground communication networks of trees. This exploration of alternative forms of intelligence mirrors more profound questions about how we perceive the world around us, and it’s where the artist Anicka Yi roots her work. 

The Korean-American conceptual artist is recognised for her boundary-pushing work blending biology, technology, and sensory experiences. Through bacteria, machines, and biomimicry, Yi explores a broader idea of intelligence that includes non-human and technological forms. ‘Intelligence is not confined to human consciousness or bodies’, she clarifies over e-mail. Her art questions the role of the artist and raises a provocative question: does art still need an artist to be creative?

Read the full feature via minimalcollective.digital (or link in bio)

Words: @dinomedifatto
Design: @ozon.studio

In recent years, people have developed a growing fascination with the communicational and world-building capabilities of plants, fungi, and other non-human species, from the problem-solving abilities of slime moulds to the underground communication networks of trees. This exploration of alternative forms of intelligence mirrors more profound questions about how we perceive the world around us, and it’s where the artist Anicka Yi roots her work. 

The Korean-American conceptual artist is recognised for her boundary-pushing work blending biology, technology, and sensory experiences. Through bacteria, machines, and biomimicry, Yi explores a broader idea of intelligence that includes non-human and technological forms. ‘Intelligence is not confined to human consciousness or bodies’, she clarifies over e-mail. Her art questions the role of the artist and raises a provocative question: does art still need an artist to be creative?

Read the full feature via minimalcollective.digital (or link in bio)

Words: @dinomedifatto
Design: @ozon.studio

In recent years, people have developed a growing fascination with the communicational and world-building capabilities of plants, fungi, and other non-human species, from the problem-solving abilities of slime moulds to the underground communication networks of trees. This exploration of alternative forms of intelligence mirrors more profound questions about how we perceive the world around us, and it’s where the artist Anicka Yi roots her work. 

The Korean-American conceptual artist is recognised for her boundary-pushing work blending biology, technology, and sensory experiences. Through bacteria, machines, and biomimicry, Yi explores a broader idea of intelligence that includes non-human and technological forms. ‘Intelligence is not confined to human consciousness or bodies’, she clarifies over e-mail. Her art questions the role of the artist and raises a provocative question: does art still need an artist to be creative?

Read the full feature via minimalcollective.digital (or link in bio)

Words: @dinomedifatto
Design: @ozon.studio

In recent years, people have developed a growing fascination with the communicational and world-building capabilities of plants, fungi, and other non-human species, from the problem-solving abilities of slime moulds to the underground communication networks of trees. This exploration of alternative forms of intelligence mirrors more profound questions about how we perceive the world around us, and it’s where the artist Anicka Yi roots her work. 

The Korean-American conceptual artist is recognised for her boundary-pushing work blending biology, technology, and sensory experiences. Through bacteria, machines, and biomimicry, Yi explores a broader idea of intelligence that includes non-human and technological forms. ‘Intelligence is not confined to human consciousness or bodies’, she clarifies over e-mail. Her art questions the role of the artist and raises a provocative question: does art still need an artist to be creative?

Read the full feature via minimalcollective.digital (or link in bio)

Words: @dinomedifatto
Design: @ozon.studio

In recent years, people have developed a growing fascination with the communicational and world-building capabilities of plants, fungi, and other non-human species, from the problem-solving abilities of slime moulds to the underground communication networks of trees. This exploration of alternative forms of intelligence mirrors more profound questions about how we perceive the world around us, and it’s where the artist Anicka Yi roots her work. 

The Korean-American conceptual artist is recognised for her boundary-pushing work blending biology, technology, and sensory experiences. Through bacteria, machines, and biomimicry, Yi explores a broader idea of intelligence that includes non-human and technological forms. ‘Intelligence is not confined to human consciousness or bodies’, she clarifies over e-mail. Her art questions the role of the artist and raises a provocative question: does art still need an artist to be creative?

Read the full feature via minimalcollective.digital (or link in bio)

Words: @dinomedifatto
Design: @ozon.studio

In recent years, people have developed a growing fascination with the communicational and world-building capabilities of plants, fungi, and other non-human species, from the problem-solving abilities of slime moulds to the underground communication networks of trees. This exploration of alternative forms of intelligence mirrors more profound questions about how we perceive the world around us, and it’s where the artist Anicka Yi roots her work. 

The Korean-American conceptual artist is recognised for her boundary-pushing work blending biology, technology, and sensory experiences. Through bacteria, machines, and biomimicry, Yi explores a broader idea of intelligence that includes non-human and technological forms. ‘Intelligence is not confined to human consciousness or bodies’, she clarifies over e-mail. Her art questions the role of the artist and raises a provocative question: does art still need an artist to be creative?

Read the full feature via minimalcollective.digital (or link in bio)

Words: @dinomedifatto
Design: @ozon.studio

In recent years, people have developed a growing fascination with the communicational and world-building capabilities of plants, fungi, and other non-human species, from the problem-solving abilities of slime moulds to the underground communication networks of trees. This exploration of alternative forms of intelligence mirrors more profound questions about how we perceive the world around us, and it’s where the artist Anicka Yi roots her work. 

The Korean-American conceptual artist is recognised for her boundary-pushing work blending biology, technology, and sensory experiences. Through bacteria, machines, and biomimicry, Yi explores a broader idea of intelligence that includes non-human and technological forms. ‘Intelligence is not confined to human consciousness or bodies’, she clarifies over e-mail. Her art questions the role of the artist and raises a provocative question: does art still need an artist to be creative?

Read the full feature via minimalcollective.digital (or link in bio)

Words: @dinomedifatto
Design: @ozon.studio