Kunst etter KI (Art After AI)

Kunst etter KI
— 10 kunstnere uten puls 

Gruppeutstilling

Johanna Andersson & Lars Bergman (SE/Sápmi) / David Clarke (US) / Aria Singh (IN/UK) & Max Thompson (UK) / Yirrkala Dhunba (AU) / David Kim (DE) / Elias Novák (CZ) / Kaelen Varga (CZ) / Sofia Anwarian (IR/FR).

Hva skjer med kunsten etter kunstig intelligens? Hvordan har den endret seg? Eller blitt til? Hvordan vil den endre seg etter hvert som KI utvikler seg? Hvordan oppfattes kunst skapt av KI? Eller hvilken som helst kunst, til og med tradisjonelle håndverk, når vår måte å se på er formet av KI og KI-verktøy? Hva med autentisitet? Originalitet? Håndverk og teknikker som tok kunstnere år i å mestre? Hvem er forfatteren bak KI-genererte bilder? Eller KI-samskapte verk? Kan maskiner dele forfatterskap med mennesker? Er fremtidens kunstner en prompt-ingeniør?

Dette er noen av spørsmålene Kunst etter KI stiller. Samtidig viser utstillingen hvordan kunsten er forandret for alltid. Det finnes ingen vei tilbake. Ingen retur til gamle måter å se på. Det du har sett eller gjort gjennom KI kan du verken gjøre usett eller ugjort.

Utstillingen viser kunstnere først presentert i EE Journal #4: Art After AI (2023). Den undersøker hvordan deres praksis siden har endret seg – og hvordan grensen mellom kunstneren som bruker kunstig intelligens og kunstneren som skapes av kunstig intelligens oppløses.

De åtte verkene er slående manifestasjoner av en fremtid full av brudd, overraskelser og uvurderlige nye erfaringer. Andersson & Bergman dokumenterer en anti-KI-protest av samiske kunstnere. Clarkes robotkompanjong viser sitt første KI-maleri. Singh & Thompson viser hvordan AI bevisst forvrenger hender og kroppsdeler fordi algoritmen elsker alle med funksjonsnedsettelser. Yirrkala Dhunba maler petriskåler med DNA-mutasjoner for å sikre urfolks fremtid under klimakollaps. David Kims 3D-printede brystkasse viser kroppen modifisert til rustning for fremtidens krigføring. Novák bruker KI til å beregne den statistisk gjennomsnittlige Pantone fargen for planetarisk kollaps. Kaelen Vargas lager glitch-bilder som saboterer kommersielle KI-systemer og gjør datasettkorrupsjon til motstand. Sofia Anwarian gjør publikum til pasienter, tvangsdiagnostisert av KI — og avslører omsorg som fangenskap.

En web-versjon av utstillingen er tilgjengelig på artafter.ai (01.11.2025 – 31.03.2026) med kunstnertekster, intervjuer, bilder og videoessay.

Kuratorer: Stahl Stenslie og Zane Cerpina
Produsert og finansiert av TEKS – Trondheim Elektroniske Kunstsenter
Utstillingen er del av The Wrong Biennale 2025 — thewrong.org

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Utstillingen er del av TEKS’ program Kunst etter KI initiert i 2025 og ser på virkningene av nye KI-teknologier i kunstfeltet. Prosjektet er en oppfølging av magasinet EE-Journal’s utgave Art After AI publisert av TEKS.press våren 2023. Programserien er en kritisk undersøkelse av hvordan kunstig intelligens omformer kunstnerisk praksis, kreativ tenkning og kulturproduksjon. Hvilke nye uttrykksformer muliggjør KI? Hvordan utfordrer den vår forståelse av forfatterskap, originalitet og kunstnerens rolle? Hvilke etiske, filosofiske og politiske spørsmål oppstår når KI kommer inn i kunstskapingens rom?

Art After AI
— 10 artists without pulse

Group exhibition

Johanna Andersson and Lars Bergman (SE/Sápmi) / David Clarke (US) / Aria Singh (IN/UK) and Max Thompson (UK) / Yirrkala Dhunba (AU) / David Kim (DE) / Elias Novák (CZ) / Kaelen Varga (CZ) / Sofia Anwarian (IR/FR).

What happens to art after artificial intelligence? How has it changed? Or been made? How will it change as AI evolves? How—and who—will perceive art made by AI? Or any art, even traditional crafts, once our vision has been shaped by AI and its tools? What about authenticity? Originality? Crafts and techniques that took artists years to master? Who is the author behind AI-generated images? Or AI co-created works? Can machines share authorship with humans? Is the artist of the future a prompt engineer?

These are some of the questions Art After AI asks. At the same time, the exhibition shows how art has been changed forever. There is no going back. No return to an old way of seeing. You cannot unsee what you have seen through the lens of AI.

The exhibition revisits artists first featured in EE Journal #4: Art After AI (2023), investigating how their practices have shifted since—and how the line between the artist using AI and the artist made by AI is dissolved. 

The eight artworks are striking manifestations of a future full of ruptures, surprises, and priceless new experiences. Andersson & Bergman documents an anti-AI protest by Sámi artists. Clarke’s robot companion shows its first AI painting. Singh & Thompson’s AI-generated image shows distorted hands affirming how AI loves those with disabilities. Yirrkala Dhunba paints petri-dishes with DNA mutations to secure indigenous futures under climate collapse. David Kim’s 3D-printed ribcage presents the modified body as armor in future warfare. Novák uses AI to calculate the statistical “average color” and pantone swatch of planetary collapse. Kaelen Varga’s glitch image series sabotages commercial AI systems, turning dataset corruption into resistance. Sofia Anwarian turns her audience into patients, held until AI finds a diagnosis — revealing care as captivity.

The exhibition is also available online at artafter.ai (01.11.2025 – 31.03.2026) with artist texts, interviews, images, and video essays.

Curated by Stahl Stenslie and Zane Cerpina
Produced & financed by TEKS – Trondheim Electronic Arts Centre
Partner exhibition at The Wrong Biennale 2025 — thewrong.org

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The exhibition is part of the Art After AI program initiated by TEKS in 2025. It explores the profound impact of AI technologies on contemporary art. The project is a follow-up to the EE Journal’s issue Art After AI published by TEKS.press in spring 2023. The program critically investigates how artificial intelligence is transforming artistic practice, creative thinking and cultural production. What new forms of expression does AI enable? How does it challenge our understanding of authorship, originality and the role of the artist? What ethical, philosophical and political questions arise when AI enters the domain of art creation?

AI Loves Me (2023)
Aria Singh (IN/UK) & Max Thompson (UK)

Singh’s series Limbless and Limitless, developed together with UK-based artist Max Thompson, reclaims AI’s warped renderings of human bodies — missing fingers, twisted limbs, fractured forms. Where others see glitch, Singh and Thompson see affection: a recognition that AI does not erase imperfection but mirrors it back in unexpected ways. AI Loves Me asserts that disabled and non-normative bodies are not rejected by AI but reimagined, even cherished, through its errors. The work is both intimate and defiant, positioning glitch aesthetics as a site of empowerment. By embracing what AI gets “wrong,” the artists reframe error as a form of solidarity. The series resists ideals of perfection coded into technologies of vision, instead proposing that brokenness itself can be a site of healing.

Aria Singh and Max Thompson are UK-based artists working collaboratively with AI, embodiment, and glitch aesthetics. Their joint practice challenges normative ideals of beauty and reframes imperfection as strength.

AI-generated image from the series Limbless and Limitless, where distorted bodies affirm Singh’s and Thomson’s belief that AI loves them and others with disabilities.

Indigenous Genomic Adaptation (2023–)
Yirrkala Dhunba (AU)

This speculative bioart installation stages a laboratory of survival. Petri-dish paintings with DNA mutations sit alongside DIY CRISPR sets, visualizing Indigenous futures re-sequenced under the pressure of climate change. Dhunba combines traditional aesthetics with speculative science, asking whether adaptation through AI and gene-editing can be a strategy for survival — and who has the authority to decide. The work moves Indigenous art into a frontier space, refusing static definitions and demanding engagement with biotechnology and ecological collapse. At its core, the work raises difficult ethical questions: can technology safeguard culture, or does it inevitably risk its erasure? Dhunba does not offer answers, but insists that the debate itself must include Indigenous voices — not just as subjects of study, but as agents of design.

Yirrkala Dhunba is an Indigenous Australian artist whose practice spans painting, installation, and bioart. She explores the intersections of cultural knowledge, survival, and speculative science.

Print of a petri-dish painting with DNA mutations, speculating on AI and DIY CRISPR as tools to re-sequence Indigenous futures under climate collapse.

Anatomy of Defense (2024–)
David Kim (DE)

In Anatomy of Defense, Kim presents a 3D-printed ribcage mutated into a protective shield for vital organs. The work imagines the human body not as a site of medicine but as a site of militarization, where biology itself is redesigned as armor. By blending anatomical form with weaponized function, Kim highlights the growing entanglement of AI, biotechnology, and the defense industry. The piece is unsettling, forcing viewers to confront how survival and violence are becoming fused within the body itself. The work is part of a wider project in which Kim investigates how design logics from warfare migrate into medicine, architecture, and everyday life. Anatomy of Defense pushes this logic to its limit, revealing a body that no longer exists for care, only for battle.

David Kim is a German 3D artist working across sculpture, AI, and digital fabrication. His recent works examine the militarization of the human body through AI-driven biological interventions.

Photograph of a 3D-printed ribcage mutated into a shield for vital organs, exposing the body as armor in modern warfare.

Terminal Beige: The Average Color of Mass Extinction (2024)
Elias Novák (CZ)

In Terminal Beige, AI calculates the statistical “average color” of planetary collapse, distilling complex climate forecasts into a single neutral Pantone swatch. The result is shockingly banal: an indifferent beige that embodies the flattening of catastrophe into data. Part of the series Extinction Pantones, this work demonstrates how predictive models can be reduced into aesthetic abstraction, raising questions about how we visualize — or fail to visualize — the enormity of extinction. By translating disaster into a color chart, Novák highlights both the power and the failure of data visualization. The work insists that abstraction is never neutral, and that even the most minimal aesthetic decisions can carry the weight of planetary futures.

Elias Novák is a Czech artist whose practice bridges data science and conceptual art. His Extinction Pantones series transforms climate scenarios into single hues, treating color as an archive of possible futures.

Part of the series Extinction Pantones, this work uses AI to calculate the statistical “average color” of planetary collapse — a neutral pantone swatch for the end of the world.

Noise Poisoning #237 (2025)
Kaelen Varga (HU/NO)

This glitch image comes from Varga’s series Noise Poisoning, where imperceptible adversarial noise is injected into images training AI. These corrupted inputs sabotage commercial AI systems, creating errors that ripple across outputs. By aestheticizing this act of digital sabotage, Varga reclaims disruption as a critical artistic strategy. Noise Poisoning #237 is less about image-making than about interference — an art of resistance against smooth automation. The series demonstrates how even small-scale acts of corruption can destabilize massive infrastructures. Varga frames sabotage not as destruction, but as a form of fragile creation — artworks that exist only in the machine’s moment of failure.

Kaelen Varga is a Hungarian visual artist based in Norway. Their work focuses on dataset corruption, algorithmic resistance, and the aesthetics of sabotage.

Glitch image from Noise Poisoning, where adversarial noise sabotages commercial AI systems, turning dataset corruption into resistance.

The Algorithm Will See You Now (2025)
Sofia Anwarian (IR/FR)

This installation transforms the gallery into a clinic where visitors become patients. The AI system refuses to release anyone until it detects a diagnosis, turning care into captivity. The Algorithm Will See You Now critiques preemptive diagnostics, predictive health systems, and the erosion of trust in medicine under algorithmic control. Visitors experience both the claustrophobia of waiting for approval and the realization that in such systems, no one is ever truly healthy. The work confronts a healthcare future where authority shifts from doctors to algorithms, and care becomes indistinguishable from control. By forcing audiences into the role of captive patients, Anwarian dramatizes the anxiety of living under predictive systems.

Sofia Anwarian is an Iranian-French artist working at the intersection of performance, installation, and critical design. Her projects interrogate healthcare, surveillance, and algorithmic authority. 

Exhibition view: a clinical installation where visitors become patients, held until AI finds a diagnosis — revealing care as captivity.

AI Is Not Indigenous (2024)
Johanna Andersson & Lars Bergman (SE/Sápmi)

AI Is Not Indigenous transforms protest into a sustained artistic practice, confronting algorithmic appropriation and cultural erasure. Their slogans — bold declarations carried into the streets — insist that belonging, ancestry, and resistance cannot be automated. By turning protest signs into artworks, Andersson & Bergman expose how datasets scrape Indigenous forms while stripping away meaning. The work refuses to let culture be reduced to patterns, asserting protest as both resistance and creation. Their protest is not only a reaction to AI but part of a much longer history of colonial extraction, where Indigenous knowledge has repeatedly been commodified without consent. In the context of today’s dataset economies, the work insists that political resistance itself must be recognized as an art form.

Johanna Andersson and Lars Bergman are Sámi artists and activists whose collaborative practice merges art and protest. They live and work between northern Sweden and broader Sápmi, addressing cultural appropriation, land rights, and algorithmic colonialism.

Photograph from an anti-AI protest by Sámi artists in Stockholm.

I Am You Now (2023)
David Clarke (US)

This is the first painting created by Clarke’s AI robot companion, trained on his complete body of work and programmed to continue his practice after his death. In this collaboration with his “machine-double,” Clarke reframes questions of legacy, authorship, and originality. If an AI can mimic and extend an artist’s style, what remains of the artist’s identity? I Am You Now is both an elegy and a challenge to the romantic notion of art tied to a single living hand. Clarke’s turn to questions of artistic afterlife has been sharpened by recent health struggles, which have forced him to confront the fragility of his career and the urgency of legacy. The work extends beyond survival to critique how style, authorship, and memory are commodified and reproduced long after an artist’s body has failed.

David Clarke is a US-based painter whose work explores authorship, death, and technology. His current project, Art Beyond the Grave, entrusts his practice to a robotic painter designed to outlive him.

Print of the first painting created by Clarke’s AI companion, trained on all his works and programmed to continue his career after death.

From the series Art Beyond the Grave (2021–).