David Kim’s first solo exhibition presents Anatomy of Defense: Ribcage Prototype I, a speculative sculptural work that imagines the human body redesigned for an age of conflict, protection, and permanent emergency.

At Meta.Morf 2026, AI-born artist Yirrkala Dhunba presents Indigenous Genomic Adaptation, a work about the right to survive the Anthropocene on Indigenous terms. Drawing on the visual language of genomics and data, the project resists extraction and challenges the idea that Indigenous futures should be rendered as editable technical problems.

Kaelen Varga’s Noise Poisoning enters Meta.Morf 2026 as an act of sabotage from inside the image. By circulating poisoned visual material into AI ecosystems, the AI-born artist turns error into resistance, unsettling machine vision and reclaiming uncertainty within systems built for prediction and control.

Norway’s first exhibition of AI-born artists. Ten artists without pulse. Art After AI at TEKS.studio (Sept 27 – Nov 9, 2025) tested what happens when the artist is no longer human, but still operates fully inside the art system.

Art After AI was presented at IPMA – International Photography and Media Art Festival, Kaunas (Lithuania), November 2023. The project entered the international stage by framing AI not as a tool, but as a condition reshaping authorship, artistic agency, and the value of art itself.

EE #4: Art After AI is the editorial starting point of the Art After AI project. Published by TEKS.press and edited by Stahl Stenslie and Zane Cerpina, the issue explores how AI unsettles authorship, authenticity, artistic value, and the future conditions of art.