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THE NEW OPIUM: Language Models, Familiarity, and the Sedation of Critical Distance

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April 14, 2026

Rirkrit Tiravanija, The House That Jack Built. A re-enactment retrospective at Pirelli Hangar Bicocca

byMatteo Giovanelli
December 30, 2025

Tram0 and the Craft of Infrastructure in Hong Kong

byBenoit Palop
October 13, 2025

Ghosts, Holograms, and AI: Emi Kusano’s EGO in the Shell

byBenoit Palop
September 26, 2025

Sandra Mujinga, Skin to Skin at Stedelijk Museum, an Interview by Matteo Giovanelli

byMatteo Giovanelli
September 8, 2025

The Power of Cute: Review of the 13th Berlin Biennale by Sofia Baldi Pighi

bySofia Baldi Pighi
August 20, 2025

Curating Otherwise: Interdependence as a Tool to Practice

byIlaria Sponda
April 29, 2025

Programmed Bodies: Contemporary Performance Between Aesthetics and Technological Embodiment

byGiulia Moscheni
April 24, 2025

Graffiti. From the Spray Paintings & Underground to the Museion

byMatteo Giovanelli
March 26, 2025

Losing the Backup Fragments of a Fading Digital Memory

byMatilde Crucitti
March 11, 2025

Tech That Won’t Die, No Matter How Hard Capitalism Tries

byBenoit Palop
February 20, 2025

Zombie Curating in the Infrathin of the Now. Beyond the ‘Curatorial’

byIlaria Sponda
February 11, 2025

Mouth Wash and Razor Blades: A Playground of the Surreal

byLinda Rocco
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