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Strange Rules opens May 4th @berggruendiedo Venice

Curated with @hansulrichobrist, @holly_herndon and @adrianarispoli_curator

Opening ceremony 7pm, all welcome

More soon.

Strange Rules opens May 4th @berggruendiedo Venice

Curated with @hansulrichobrist, @holly_herndon and @adrianarispoli_curator

Opening ceremony 7pm, all welcome

More soon.

Strange Rules opens May 4th @berggruendiedo Venice

Curated with @hansulrichobrist, @holly_herndon and @adrianarispoli_curator

Opening ceremony 7pm, all welcome

More soon.

On 4 May 2026, Palazzo Diedo presents “Strange Rules”, a new interdisciplinary project curated by Mat Dryhurst (@matdryhurst), Holly Herndon (@holly_herndon) Hans Ulrich Obrist (@hansulrichobrist) with Adriana Rispoli (@adrianarispoli_curator).

The exhibition introduces the concept of Protocol Art, a practice that engages with the underlying rules that dictate how culture is produced, distributed and perceived in the digital age. Algorithms, artificial intelligence models, platforms and technological infrastructures are brought into focus not as neutral tools, but as structures that actively shape meaning and experience.
“Strange Rules” shifts attention from the artwork as a fixed object to the artwork as a process, unfolding through instructions, interactions and systems. Across Palazzo Diedo, the project takes the form of a dynamic environment, where installations, performances, screenings and research activities redefine the relationship between art, technology and collective participation.

🏛️ “Strange Rules”, curated by Mat Dryhurst, Holly Herndon, Hans Ulrich Obrist, with Adriana Rispoli
📆 4 May – 22 November 2026
📍 Palazzo Diedo, Venice

#ProtocolArt #BerggruenArt #StrangeRules #berggruendiedo

On 4 May 2026, Palazzo Diedo presents “Strange Rules”, a new interdisciplinary project curated by Mat Dryhurst (@matdryhurst), Holly Herndon (@holly_herndon) Hans Ulrich Obrist (@hansulrichobrist) with Adriana Rispoli (@adrianarispoli_curator).

The exhibition introduces the concept of Protocol Art, a practice that engages with the underlying rules that dictate how culture is produced, distributed and perceived in the digital age. Algorithms, artificial intelligence models, platforms and technological infrastructures are brought into focus not as neutral tools, but as structures that actively shape meaning and experience.
“Strange Rules” shifts attention from the artwork as a fixed object to the artwork as a process, unfolding through instructions, interactions and systems. Across Palazzo Diedo, the project takes the form of a dynamic environment, where installations, performances, screenings and research activities redefine the relationship between art, technology and collective participation.

🏛️ “Strange Rules”, curated by Mat Dryhurst, Holly Herndon, Hans Ulrich Obrist, with Adriana Rispoli
📆 4 May – 22 November 2026
📍 Palazzo Diedo, Venice

#ProtocolArt #BerggruenArt #StrangeRules #berggruendiedo

Mat Dryhurst (@matdryhurst) is a Berlin-based artist renowned for his pioneering work in machine learning and governance. He is a widely consulted voice on AI policy, copyright, and the political economy of cultural production, contributing to debates around data rights and the governance of generative AI.

He co-runs Herndon Dryhurst Studio with his partner Holly Herndon, where they’ve developed projects like Holly+, a protocol for shared ownership and licensing of an artist’s identity and intellectual property, and Spawning, a data permissions protocol for AI. His practice, which he calls Protocol Art, intervenes at the level of systems and protocols rather than objects, arguing for agency at the infrastructure layer.

TITLES spoke to Mat about the collapse of traditional cultural frameworks, the rise of protocol-based authorship, and the limits of copyright in an AI-native world.

Read the full interview on Substack at the link in our bio.

Mat Dryhurst (@matdryhurst) is a Berlin-based artist renowned for his pioneering work in machine learning and governance. He is a widely consulted voice on AI policy, copyright, and the political economy of cultural production, contributing to debates around data rights and the governance of generative AI.

He co-runs Herndon Dryhurst Studio with his partner Holly Herndon, where they’ve developed projects like Holly+, a protocol for shared ownership and licensing of an artist’s identity and intellectual property, and Spawning, a data permissions protocol for AI. His practice, which he calls Protocol Art, intervenes at the level of systems and protocols rather than objects, arguing for agency at the infrastructure layer.

TITLES spoke to Mat about the collapse of traditional cultural frameworks, the rise of protocol-based authorship, and the limits of copyright in an AI-native world.

Read the full interview on Substack at the link in our bio.

Mat Dryhurst (@matdryhurst) is a Berlin-based artist renowned for his pioneering work in machine learning and governance. He is a widely consulted voice on AI policy, copyright, and the political economy of cultural production, contributing to debates around data rights and the governance of generative AI.

He co-runs Herndon Dryhurst Studio with his partner Holly Herndon, where they’ve developed projects like Holly+, a protocol for shared ownership and licensing of an artist’s identity and intellectual property, and Spawning, a data permissions protocol for AI. His practice, which he calls Protocol Art, intervenes at the level of systems and protocols rather than objects, arguing for agency at the infrastructure layer.

TITLES spoke to Mat about the collapse of traditional cultural frameworks, the rise of protocol-based authorship, and the limits of copyright in an AI-native world.

Read the full interview on Substack at the link in our bio.

Mat Dryhurst (@matdryhurst) is a Berlin-based artist renowned for his pioneering work in machine learning and governance. He is a widely consulted voice on AI policy, copyright, and the political economy of cultural production, contributing to debates around data rights and the governance of generative AI.

He co-runs Herndon Dryhurst Studio with his partner Holly Herndon, where they’ve developed projects like Holly+, a protocol for shared ownership and licensing of an artist’s identity and intellectual property, and Spawning, a data permissions protocol for AI. His practice, which he calls Protocol Art, intervenes at the level of systems and protocols rather than objects, arguing for agency at the infrastructure layer.

TITLES spoke to Mat about the collapse of traditional cultural frameworks, the rise of protocol-based authorship, and the limits of copyright in an AI-native world.

Read the full interview on Substack at the link in our bio.

Delighted to be joining Oxford HAI Lab as Senior Research Associate.

Looking forward to publishing software and thought with a great group of people.

In 2022, we did an episode with artist, technologist, and friend-of-the-pod @matdryhurst to discuss a question that now feels almost quaint: Is AI good or bad for art? This was back in the days (pre-ChatGPT) when everybody was freaking out about text-to-image generators like Dall-E and Midjourney, and we discussed what they might mean for working artists. Obviously, a lot has happened since then, so it felt like time to check back in with Mat.

Mat is the rare artist and leftist we know who’s also an outspoken proponent of AI tools, if not the broader economic structures shaping their creation and deployment. While we don’t agree on everything, we share a core perspective: This tech isn’t going away, and artists and creative people need to understand it if they want to have a say in what the future will look like.

Having worked with AI in his practice for over a decade alongside his partner @holly_herndon — they’ve even co-authored a book about AI and cultural production — Mat brings a deeply informed perspective to the ethical implications and creative possibilities of these tools. Given that conversations about AI tend to fall into polarized culture war-style faceoffs, we wanted to dig into the fine print of what’s actually going on, where the AI industry is heading, and where creative workers should be focusing their attention.

Mat talks with us about what running a start-up focused on giving artists more power over their training data taught him about the limits of current copyright debates, and whether slop is as big as a problem for culture as people are making it out to be. We also get into why blanket bans of AI-generated art and music are not only impractical, but bad for artists. Plus, we discuss why Mat thinks open models are critical to creative control in a landscape that is increasingly consolidated around a handful of powerful companies.

Full convo at theculturejournalist dot substack dot com 📡

In 2022, we did an episode with artist, technologist, and friend-of-the-pod @matdryhurst to discuss a question that now feels almost quaint: Is AI good or bad for art? This was back in the days (pre-ChatGPT) when everybody was freaking out about text-to-image generators like Dall-E and Midjourney, and we discussed what they might mean for working artists. Obviously, a lot has happened since then, so it felt like time to check back in with Mat.

Mat is the rare artist and leftist we know who’s also an outspoken proponent of AI tools, if not the broader economic structures shaping their creation and deployment. While we don’t agree on everything, we share a core perspective: This tech isn’t going away, and artists and creative people need to understand it if they want to have a say in what the future will look like.

Having worked with AI in his practice for over a decade alongside his partner @holly_herndon — they’ve even co-authored a book about AI and cultural production — Mat brings a deeply informed perspective to the ethical implications and creative possibilities of these tools. Given that conversations about AI tend to fall into polarized culture war-style faceoffs, we wanted to dig into the fine print of what’s actually going on, where the AI industry is heading, and where creative workers should be focusing their attention.

Mat talks with us about what running a start-up focused on giving artists more power over their training data taught him about the limits of current copyright debates, and whether slop is as big as a problem for culture as people are making it out to be. We also get into why blanket bans of AI-generated art and music are not only impractical, but bad for artists. Plus, we discuss why Mat thinks open models are critical to creative control in a landscape that is increasingly consolidated around a handful of powerful companies.

Full convo at theculturejournalist dot substack dot com 📡

In 2022, we did an episode with artist, technologist, and friend-of-the-pod @matdryhurst to discuss a question that now feels almost quaint: Is AI good or bad for art? This was back in the days (pre-ChatGPT) when everybody was freaking out about text-to-image generators like Dall-E and Midjourney, and we discussed what they might mean for working artists. Obviously, a lot has happened since then, so it felt like time to check back in with Mat.

Mat is the rare artist and leftist we know who’s also an outspoken proponent of AI tools, if not the broader economic structures shaping their creation and deployment. While we don’t agree on everything, we share a core perspective: This tech isn’t going away, and artists and creative people need to understand it if they want to have a say in what the future will look like.

Having worked with AI in his practice for over a decade alongside his partner @holly_herndon — they’ve even co-authored a book about AI and cultural production — Mat brings a deeply informed perspective to the ethical implications and creative possibilities of these tools. Given that conversations about AI tend to fall into polarized culture war-style faceoffs, we wanted to dig into the fine print of what’s actually going on, where the AI industry is heading, and where creative workers should be focusing their attention.

Mat talks with us about what running a start-up focused on giving artists more power over their training data taught him about the limits of current copyright debates, and whether slop is as big as a problem for culture as people are making it out to be. We also get into why blanket bans of AI-generated art and music are not only impractical, but bad for artists. Plus, we discuss why Mat thinks open models are critical to creative control in a landscape that is increasingly consolidated around a handful of powerful companies.

Full convo at theculturejournalist dot substack dot com 📡

In 2022, we did an episode with artist, technologist, and friend-of-the-pod @matdryhurst to discuss a question that now feels almost quaint: Is AI good or bad for art? This was back in the days (pre-ChatGPT) when everybody was freaking out about text-to-image generators like Dall-E and Midjourney, and we discussed what they might mean for working artists. Obviously, a lot has happened since then, so it felt like time to check back in with Mat.

Mat is the rare artist and leftist we know who’s also an outspoken proponent of AI tools, if not the broader economic structures shaping their creation and deployment. While we don’t agree on everything, we share a core perspective: This tech isn’t going away, and artists and creative people need to understand it if they want to have a say in what the future will look like.

Having worked with AI in his practice for over a decade alongside his partner @holly_herndon — they’ve even co-authored a book about AI and cultural production — Mat brings a deeply informed perspective to the ethical implications and creative possibilities of these tools. Given that conversations about AI tend to fall into polarized culture war-style faceoffs, we wanted to dig into the fine print of what’s actually going on, where the AI industry is heading, and where creative workers should be focusing their attention.

Mat talks with us about what running a start-up focused on giving artists more power over their training data taught him about the limits of current copyright debates, and whether slop is as big as a problem for culture as people are making it out to be. We also get into why blanket bans of AI-generated art and music are not only impractical, but bad for artists. Plus, we discuss why Mat thinks open models are critical to creative control in a landscape that is increasingly consolidated around a handful of powerful companies.

Full convo at theculturejournalist dot substack dot com 📡

In 2022, we did an episode with artist, technologist, and friend-of-the-pod @matdryhurst to discuss a question that now feels almost quaint: Is AI good or bad for art? This was back in the days (pre-ChatGPT) when everybody was freaking out about text-to-image generators like Dall-E and Midjourney, and we discussed what they might mean for working artists. Obviously, a lot has happened since then, so it felt like time to check back in with Mat.

Mat is the rare artist and leftist we know who’s also an outspoken proponent of AI tools, if not the broader economic structures shaping their creation and deployment. While we don’t agree on everything, we share a core perspective: This tech isn’t going away, and artists and creative people need to understand it if they want to have a say in what the future will look like.

Having worked with AI in his practice for over a decade alongside his partner @holly_herndon — they’ve even co-authored a book about AI and cultural production — Mat brings a deeply informed perspective to the ethical implications and creative possibilities of these tools. Given that conversations about AI tend to fall into polarized culture war-style faceoffs, we wanted to dig into the fine print of what’s actually going on, where the AI industry is heading, and where creative workers should be focusing their attention.

Mat talks with us about what running a start-up focused on giving artists more power over their training data taught him about the limits of current copyright debates, and whether slop is as big as a problem for culture as people are making it out to be. We also get into why blanket bans of AI-generated art and music are not only impractical, but bad for artists. Plus, we discuss why Mat thinks open models are critical to creative control in a landscape that is increasingly consolidated around a handful of powerful companies.

Full convo at theculturejournalist dot substack dot com 📡

In 2022, we did an episode with artist, technologist, and friend-of-the-pod @matdryhurst to discuss a question that now feels almost quaint: Is AI good or bad for art? This was back in the days (pre-ChatGPT) when everybody was freaking out about text-to-image generators like Dall-E and Midjourney, and we discussed what they might mean for working artists. Obviously, a lot has happened since then, so it felt like time to check back in with Mat.

Mat is the rare artist and leftist we know who’s also an outspoken proponent of AI tools, if not the broader economic structures shaping their creation and deployment. While we don’t agree on everything, we share a core perspective: This tech isn’t going away, and artists and creative people need to understand it if they want to have a say in what the future will look like.

Having worked with AI in his practice for over a decade alongside his partner @holly_herndon — they’ve even co-authored a book about AI and cultural production — Mat brings a deeply informed perspective to the ethical implications and creative possibilities of these tools. Given that conversations about AI tend to fall into polarized culture war-style faceoffs, we wanted to dig into the fine print of what’s actually going on, where the AI industry is heading, and where creative workers should be focusing their attention.

Mat talks with us about what running a start-up focused on giving artists more power over their training data taught him about the limits of current copyright debates, and whether slop is as big as a problem for culture as people are making it out to be. We also get into why blanket bans of AI-generated art and music are not only impractical, but bad for artists. Plus, we discuss why Mat thinks open models are critical to creative control in a landscape that is increasingly consolidated around a handful of powerful companies.

Full convo at theculturejournalist dot substack dot com 📡

In 2022, we did an episode with artist, technologist, and friend-of-the-pod @matdryhurst to discuss a question that now feels almost quaint: Is AI good or bad for art? This was back in the days (pre-ChatGPT) when everybody was freaking out about text-to-image generators like Dall-E and Midjourney, and we discussed what they might mean for working artists. Obviously, a lot has happened since then, so it felt like time to check back in with Mat.

Mat is the rare artist and leftist we know who’s also an outspoken proponent of AI tools, if not the broader economic structures shaping their creation and deployment. While we don’t agree on everything, we share a core perspective: This tech isn’t going away, and artists and creative people need to understand it if they want to have a say in what the future will look like.

Having worked with AI in his practice for over a decade alongside his partner @holly_herndon — they’ve even co-authored a book about AI and cultural production — Mat brings a deeply informed perspective to the ethical implications and creative possibilities of these tools. Given that conversations about AI tend to fall into polarized culture war-style faceoffs, we wanted to dig into the fine print of what’s actually going on, where the AI industry is heading, and where creative workers should be focusing their attention.

Mat talks with us about what running a start-up focused on giving artists more power over their training data taught him about the limits of current copyright debates, and whether slop is as big as a problem for culture as people are making it out to be. We also get into why blanket bans of AI-generated art and music are not only impractical, but bad for artists. Plus, we discuss why Mat thinks open models are critical to creative control in a landscape that is increasingly consolidated around a handful of powerful companies.

Full convo at theculturejournalist dot substack dot com 📡

Thank you again for a wonderful symposium CRAFTING DATA @dieangewandte last week and particularly to my co-panelists @vivanova101 and @matdryhurst

Starmirror final training was beautiful

Thanks everyone

Starmirror final training was beautiful

Thanks everyone

Starmirror final training was beautiful

Thanks everyone

Starmirror final training was beautiful

Thanks everyone

Starmirror final training was beautiful

Thanks everyone

Just when you think you’ve got #immersivesound all figured out 🤩 This is 'Starmirror' by artists Holly Herndon and Mat Dryhurst. In short, a collaborative training ground for humans and AI - a call and response recording studio for all our voices - the results of which will train an AI choir.

You can be part of this. The immersive exhibition is on view in Berlin until 18.01.26. Check out the @kwinstitutefcontemporaryart for details.

📸 Frank Sperling | #soundart #soundartist

Just when you think you’ve got #immersivesound all figured out 🤩 This is 'Starmirror' by artists Holly Herndon and Mat Dryhurst. In short, a collaborative training ground for humans and AI - a call and response recording studio for all our voices - the results of which will train an AI choir.

You can be part of this. The immersive exhibition is on view in Berlin until 18.01.26. Check out the @kwinstitutefcontemporaryart for details.

📸 Frank Sperling | #soundart #soundartist

Just when you think you’ve got #immersivesound all figured out 🤩 This is 'Starmirror' by artists Holly Herndon and Mat Dryhurst. In short, a collaborative training ground for humans and AI - a call and response recording studio for all our voices - the results of which will train an AI choir.

You can be part of this. The immersive exhibition is on view in Berlin until 18.01.26. Check out the @kwinstitutefcontemporaryart for details.

📸 Frank Sperling | #soundart #soundartist

Just when you think you’ve got #immersivesound all figured out 🤩 This is 'Starmirror' by artists Holly Herndon and Mat Dryhurst. In short, a collaborative training ground for humans and AI - a call and response recording studio for all our voices - the results of which will train an AI choir.

You can be part of this. The immersive exhibition is on view in Berlin until 18.01.26. Check out the @kwinstitutefcontemporaryart for details.

📸 Frank Sperling | #soundart #soundartist

during a break from editing this great interview with @holly_herndon and @matdryhurst , instagram suggested me a reel showing that @damonalbarn “stole” the beat for Gorillaz’s Clint Eastwood directly from an omnichord preset, as though there aren’t a million other videos showing the same thing, and as though that were some terrible crime.

i put on the first Gorillaz album for the rest of the edit, and it seemed right to be listening to that virtual band that embraces the richness of collaboration while Mat was talking about Quincy Jones and Rod Temperton and the others that were involved in Thriller.

‘it scrambles people’s brains because they ask “well who made that?” and we say “well there were documents and conversations a cigarettes, and eventually that came out.” and honestly, i know that’s the way it works all of the time.’

in that spirit: thanks Holly and Mat for a great conversation, thanks Hannah Scott and all the editors at Reboot for polishing our words, thanks @annafyi and the press team at KW, and thanks to the infinite others who brought us all here.

read the full interview about Starmirror at @kwinstitutefcontemporaryart in @joinreboot at the link in my bio

during a break from editing this great interview with @holly_herndon and @matdryhurst , instagram suggested me a reel showing that @damonalbarn “stole” the beat for Gorillaz’s Clint Eastwood directly from an omnichord preset, as though there aren’t a million other videos showing the same thing, and as though that were some terrible crime.

i put on the first Gorillaz album for the rest of the edit, and it seemed right to be listening to that virtual band that embraces the richness of collaboration while Mat was talking about Quincy Jones and Rod Temperton and the others that were involved in Thriller.

‘it scrambles people’s brains because they ask “well who made that?” and we say “well there were documents and conversations a cigarettes, and eventually that came out.” and honestly, i know that’s the way it works all of the time.’

in that spirit: thanks Holly and Mat for a great conversation, thanks Hannah Scott and all the editors at Reboot for polishing our words, thanks @annafyi and the press team at KW, and thanks to the infinite others who brought us all here.

read the full interview about Starmirror at @kwinstitutefcontemporaryart in @joinreboot at the link in my bio

during a break from editing this great interview with @holly_herndon and @matdryhurst , instagram suggested me a reel showing that @damonalbarn “stole” the beat for Gorillaz’s Clint Eastwood directly from an omnichord preset, as though there aren’t a million other videos showing the same thing, and as though that were some terrible crime.

i put on the first Gorillaz album for the rest of the edit, and it seemed right to be listening to that virtual band that embraces the richness of collaboration while Mat was talking about Quincy Jones and Rod Temperton and the others that were involved in Thriller.

‘it scrambles people’s brains because they ask “well who made that?” and we say “well there were documents and conversations a cigarettes, and eventually that came out.” and honestly, i know that’s the way it works all of the time.’

in that spirit: thanks Holly and Mat for a great conversation, thanks Hannah Scott and all the editors at Reboot for polishing our words, thanks @annafyi and the press team at KW, and thanks to the infinite others who brought us all here.

read the full interview about Starmirror at @kwinstitutefcontemporaryart in @joinreboot at the link in my bio

during a break from editing this great interview with @holly_herndon and @matdryhurst , instagram suggested me a reel showing that @damonalbarn “stole” the beat for Gorillaz’s Clint Eastwood directly from an omnichord preset, as though there aren’t a million other videos showing the same thing, and as though that were some terrible crime.

i put on the first Gorillaz album for the rest of the edit, and it seemed right to be listening to that virtual band that embraces the richness of collaboration while Mat was talking about Quincy Jones and Rod Temperton and the others that were involved in Thriller.

‘it scrambles people’s brains because they ask “well who made that?” and we say “well there were documents and conversations a cigarettes, and eventually that came out.” and honestly, i know that’s the way it works all of the time.’

in that spirit: thanks Holly and Mat for a great conversation, thanks Hannah Scott and all the editors at Reboot for polishing our words, thanks @annafyi and the press team at KW, and thanks to the infinite others who brought us all here.

read the full interview about Starmirror at @kwinstitutefcontemporaryart in @joinreboot at the link in my bio

“They are adamant about continuing to challenge the very scaffold that once separated us from technology, and about dismantling anthropocentric myths upholding art-making.”⁠
⁠
Currently on view at KW Institute for Contemporary Art, ‘Starmirror’ is an exhibition project by Holly Herndon and Mat Dryhurst. Drawing on their long-standing engagement in group singing projects, Herndon and Dryhurst continue their research into choral AI models with the vast repertoire of Hildegard von Bingen as a steer. ‘Starmirror’ turns KW’s hall into an immersive sound installation and recording studio, gathering new recordings to feed their AI model.⁠
⁠
To discuss the exhibition project and Herndon and Dryhurst’s collaborative practice, Annalisa Giacinti visited them in their studio, touching on understanding AI as a collective achievement, foregrounding the audience’s agency when engaging with the work’s AI elements, and how the metaphor of the choir functions in Herndon and Dryhurst’s practice. ⁠
⁠
‘Starmirror’ is on view at KW until January 18, with several AI training performances taking place on Sundays. Read the full studio visit at the link in bio. ⁠
⁠
Photos by Mackenzie Walker⁠
⁠
@kwinstitutefcontemporaryart @holly_herndon @matdryhurst @annalisagiaci @mckwalker⁠
#studiovisit #anthropocentric #artmaking #exhibition #groupsinging #choir #aimodel #soundinstallation #immersive #recordingstudio

“They are adamant about continuing to challenge the very scaffold that once separated us from technology, and about dismantling anthropocentric myths upholding art-making.”⁠
⁠
Currently on view at KW Institute for Contemporary Art, ‘Starmirror’ is an exhibition project by Holly Herndon and Mat Dryhurst. Drawing on their long-standing engagement in group singing projects, Herndon and Dryhurst continue their research into choral AI models with the vast repertoire of Hildegard von Bingen as a steer. ‘Starmirror’ turns KW’s hall into an immersive sound installation and recording studio, gathering new recordings to feed their AI model.⁠
⁠
To discuss the exhibition project and Herndon and Dryhurst’s collaborative practice, Annalisa Giacinti visited them in their studio, touching on understanding AI as a collective achievement, foregrounding the audience’s agency when engaging with the work’s AI elements, and how the metaphor of the choir functions in Herndon and Dryhurst’s practice. ⁠
⁠
‘Starmirror’ is on view at KW until January 18, with several AI training performances taking place on Sundays. Read the full studio visit at the link in bio. ⁠
⁠
Photos by Mackenzie Walker⁠
⁠
@kwinstitutefcontemporaryart @holly_herndon @matdryhurst @annalisagiaci @mckwalker⁠
#studiovisit #anthropocentric #artmaking #exhibition #groupsinging #choir #aimodel #soundinstallation #immersive #recordingstudio

“They are adamant about continuing to challenge the very scaffold that once separated us from technology, and about dismantling anthropocentric myths upholding art-making.”⁠
⁠
Currently on view at KW Institute for Contemporary Art, ‘Starmirror’ is an exhibition project by Holly Herndon and Mat Dryhurst. Drawing on their long-standing engagement in group singing projects, Herndon and Dryhurst continue their research into choral AI models with the vast repertoire of Hildegard von Bingen as a steer. ‘Starmirror’ turns KW’s hall into an immersive sound installation and recording studio, gathering new recordings to feed their AI model.⁠
⁠
To discuss the exhibition project and Herndon and Dryhurst’s collaborative practice, Annalisa Giacinti visited them in their studio, touching on understanding AI as a collective achievement, foregrounding the audience’s agency when engaging with the work’s AI elements, and how the metaphor of the choir functions in Herndon and Dryhurst’s practice. ⁠
⁠
‘Starmirror’ is on view at KW until January 18, with several AI training performances taking place on Sundays. Read the full studio visit at the link in bio. ⁠
⁠
Photos by Mackenzie Walker⁠
⁠
@kwinstitutefcontemporaryart @holly_herndon @matdryhurst @annalisagiaci @mckwalker⁠
#studiovisit #anthropocentric #artmaking #exhibition #groupsinging #choir #aimodel #soundinstallation #immersive #recordingstudio

“They are adamant about continuing to challenge the very scaffold that once separated us from technology, and about dismantling anthropocentric myths upholding art-making.”⁠
⁠
Currently on view at KW Institute for Contemporary Art, ‘Starmirror’ is an exhibition project by Holly Herndon and Mat Dryhurst. Drawing on their long-standing engagement in group singing projects, Herndon and Dryhurst continue their research into choral AI models with the vast repertoire of Hildegard von Bingen as a steer. ‘Starmirror’ turns KW’s hall into an immersive sound installation and recording studio, gathering new recordings to feed their AI model.⁠
⁠
To discuss the exhibition project and Herndon and Dryhurst’s collaborative practice, Annalisa Giacinti visited them in their studio, touching on understanding AI as a collective achievement, foregrounding the audience’s agency when engaging with the work’s AI elements, and how the metaphor of the choir functions in Herndon and Dryhurst’s practice. ⁠
⁠
‘Starmirror’ is on view at KW until January 18, with several AI training performances taking place on Sundays. Read the full studio visit at the link in bio. ⁠
⁠
Photos by Mackenzie Walker⁠
⁠
@kwinstitutefcontemporaryart @holly_herndon @matdryhurst @annalisagiaci @mckwalker⁠
#studiovisit #anthropocentric #artmaking #exhibition #groupsinging #choir #aimodel #soundinstallation #immersive #recordingstudio

“They are adamant about continuing to challenge the very scaffold that once separated us from technology, and about dismantling anthropocentric myths upholding art-making.”⁠
⁠
Currently on view at KW Institute for Contemporary Art, ‘Starmirror’ is an exhibition project by Holly Herndon and Mat Dryhurst. Drawing on their long-standing engagement in group singing projects, Herndon and Dryhurst continue their research into choral AI models with the vast repertoire of Hildegard von Bingen as a steer. ‘Starmirror’ turns KW’s hall into an immersive sound installation and recording studio, gathering new recordings to feed their AI model.⁠
⁠
To discuss the exhibition project and Herndon and Dryhurst’s collaborative practice, Annalisa Giacinti visited them in their studio, touching on understanding AI as a collective achievement, foregrounding the audience’s agency when engaging with the work’s AI elements, and how the metaphor of the choir functions in Herndon and Dryhurst’s practice. ⁠
⁠
‘Starmirror’ is on view at KW until January 18, with several AI training performances taking place on Sundays. Read the full studio visit at the link in bio. ⁠
⁠
Photos by Mackenzie Walker⁠
⁠
@kwinstitutefcontemporaryart @holly_herndon @matdryhurst @annalisagiaci @mckwalker⁠
#studiovisit #anthropocentric #artmaking #exhibition #groupsinging #choir #aimodel #soundinstallation #immersive #recordingstudio

Protocols are the essence of generative technologies. HOLLY HERNDON and MAY DRYHURST interrogate the systems these frameworks shape.

Read the story by TRAVIS DIEHL with photography by OLGAÇ BOZALP in link in bio.

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Enter The Generative Museum to experience the visionary work of Holly Herndon & Mathew Dryhurst (@holly_herndon @matdryhurst). Presented in collaboration with @icapittsburgh and @kadistkadist. Watch their full length video at epoch.gallery and ica.cmu.edu.

Holly Herndon & Mathew Dryhurst
I’M HERE 17.12.2022 5:44
05:44 minutes
2022, single-channel Al generated video, color, sound

I feel like a witness watching Holly Herndon & Mat Dryhurst’s short video I’M HERE 17.12.2022 5:44. It’s a video that reveals itself toward the end (spoiler alert), and uses generative Al to visualize a coma-induced dreamstate. The video is assembled around Dryhurst’s informal audio recording of Herndon’s recollections, as he kindly inquires for details, with the frame-by-frame output of a customized image model, to render an experience that blends raw documentation with painterly contours, jitter with instability, and a fluid blurring of forms-a metaphor for the fragility of memory and the surreal intensity of the event.

In their Berlin studio, Herndon & Dryhurst train models on personal archives including family photos, past projects, and travel images. The result is a deeply intimate yet reencoded rendering of a personal experience, reflecting both the intimacy of trauma and the variability and masking effect of Al outputs. I’m not alone in recognizing them as leading figures in the field of advanced technology, and the duo has been especially influential in recognizing ‘use cases’ for these technologies-including as filters that allow private experiences to be reframed and reprocessed thereby making them legible for collective reflection.

- Joseph del Pesco @delpesco

Enter The Generative Museum to experience the visionary work of Holly Herndon & Mathew Dryhurst (@holly_herndon @matdryhurst). Presented in collaboration with @icapittsburgh and @kadistkadist. Watch their full length video at epoch.gallery and ica.cmu.edu.

Holly Herndon & Mathew Dryhurst
I’M HERE 17.12.2022 5:44
05:44 minutes
2022, single-channel Al generated video, color, sound

I feel like a witness watching Holly Herndon & Mat Dryhurst’s short video I’M HERE 17.12.2022 5:44. It’s a video that reveals itself toward the end (spoiler alert), and uses generative Al to visualize a coma-induced dreamstate. The video is assembled around Dryhurst’s informal audio recording of Herndon’s recollections, as he kindly inquires for details, with the frame-by-frame output of a customized image model, to render an experience that blends raw documentation with painterly contours, jitter with instability, and a fluid blurring of forms-a metaphor for the fragility of memory and the surreal intensity of the event.

In their Berlin studio, Herndon & Dryhurst train models on personal archives including family photos, past projects, and travel images. The result is a deeply intimate yet reencoded rendering of a personal experience, reflecting both the intimacy of trauma and the variability and masking effect of Al outputs. I’m not alone in recognizing them as leading figures in the field of advanced technology, and the duo has been especially influential in recognizing ‘use cases’ for these technologies-including as filters that allow private experiences to be reframed and reprocessed thereby making them legible for collective reflection.

- Joseph del Pesco @delpesco