Andy Warhol
Warhol’s moving image works are an example of an artist using the technology of his time, in this case film, to extend his artistic practice into areas not always recognized or immediately accepted by the mainstream art world. Warhol recycled, reused and updated his images in paintings, prints and drawings. The film works presented in the primary room appeared in Warhol’s highly influential Exploding Plastic Inevitable (EPI) in a nightclub setting that was further enhanced through the interplay of music and live performances.’
This is the first time that these film elements are installed in London under the supervision of Patrick Moore, former director of The Andy Warhol Museum and cultural advisor to SXSW London.
Contribution The Andy Warhol Foundation for the Visual Arts, Inc.
Further reading:
From Warhol To Beeple by Patrick MooreEarly Pop paintings were based on comics and ads, with his series of Campbell’s Soup Cans in 1962 creating a buzz in the art world that launched Warhol as a celebrity. Throughout his career Warhol continually explored different mediums to create art. In 1963 he began to make films, and created many classics of avant-garde cinema and a body of work known as Screen Tests (4-minute portrait films, from 1964-1966). He broadened his activities into the realm of performance art with a traveling multimedia show called The Exploding Plastic Inevitable, which featured the rock and roll band The Velvet Underground.
Portrait commissions became a significant source of output and income for Warhol in the 70s as he mixed further with New York’s high society circles. Whether captured in photographs or paintings, Warhol’s work blurred the lines between artist, socialite, and celebrity with images of Liza Minnelli, Halston, Grace Jones, Mick Jagger, and many others.
In the mid-80s, Warhol collaborated on artworks with young artists including Jean-Michel Basquiat and Keith Haring. Warhol and Basquiat together produced over 150 collaborative canvases over a four-year period. In the mid-1980s, Warhol expanded into media production, most notably with his television show, Andy Warhol’s Fifteen Minutes airing on MTV.
Warhol died in New York City on February 22, 1987, due to complications following surgery to remove his gall bladder. After Warhol’s death The Andy Warhol Foundation for the Visual Arts was founded to promote the “advancement of visual arts.” The Andy Warhol Museum opened in Pittsburgh in 1994.
Beeple
This artwork reflects the tension between our increasingly fraught relationship with technology and its potential to either heal or harm the planet. The duality between chaos and harmony mirrors the division seen in society, shaped by the reality one chooses to engage with.
Through the lens of social media, we are faced with a stark choice: immediate sensory overload (noise) or a broader, long-term perspective (signal). The former presents an overwhelming deluge of data, media, and perspectives, evoking a world seemingly teetering on the edge of collapse. Yet, when we take a step back and expand our view to the larger temporal horizon, a different narrative emerges - one of human resilience, technological innovation, and a slow but significant move towards a more harmonious existence with nature.
This work allows the viewer to oscillate between these two realities. The dial becomes a metaphor for our own agency and balance that can be found between a wider, more serene holistic view of our world, and the chaotic swirl of real-time news feeds representing the dissonance and implied urgency of the present moment.
This tension explores the question: will you choose a reality where we are heading towards destruction or redemption?
Beeple Studio 2025
This work is the artist’s proof (A.P) of the edition of 1 within the Lingotto Investment Management’s Digital Art Collection.
BIO
Mike Winkelmann, widely known as Beeple, is an American digital artist, graphic designer, and animator celebrated for his innovative and provocative work at the forefront of digital art. Beeple gained international recognition for his daily art project, Everydays, which he began in May 2007 and has continued without interruption. This commitment to creating one new artwork every day has not only demonstrated his relentless creativity but also documented the evolution of his artistic style and engagement with emerging technologies over time.
Beeple’s work spans various media including short films, virtual reality, augmented reality, and NFTs, pushing the boundaries of visual culture in the digital age. He became a household name in 2021 when his NFT artwork Everydays: The First 5000 Days was auctioned at Christie’s for over $69 million—one of the highest prices ever paid for an artwork. His pieces often comment on politics, pop culture, and the societal impacts of technology, blending dystopian visuals with satirical undertones. In the same year, he founded Beeple Studios, a creative hub aimed at supporting the digital art community and fostering public engagement with new forms of art. Through his groundbreaking work, Beeple has become a defining figure in the conversation around digital ownership, crypto art, and the future of creative expression.
MARINA ABRAMOVIĆ, MARINA’S AI ALIAS, HANS ULRICH OBRIST
“THE CONVERSATION…” brings together Marina Abramović, her AI counterpart, and curator Hans Ulrich Obrist in a triangular installation - a dialogue between human artist, artificial voice, and human curator. This work invites the audience to reflect on the nature of these distinct yet intertwined forms, and how they may illuminate and expand one another. By removing the AI’s visual form, the piece reduces it to pure voice - disembodied, immaterial - echoing Abramović’s enduring exploration of presence beyond the limits of the physical body.
The Conversation was created by Hans Ulrich Obrist & Marina Abramović together with Primavera De Filippi, Apolinario Passos and Marco Conti Šikić (members of the Glitch Collective) in partnership with with Tavus, Hugging Face and Alien Intelligence.
Commissioned by SXSWLondon, curated by Alex Poots and produced by North Star Studio.
Hans Ulrich Obrist BIO
Hans Ulrich Obrist (b. 1968, Zurich, Switzerland) is Artistic Director of the Serpentine in London, and Senior Advisor at LUMA Arles. Since his first show World Soup (The Kitchen Show) in 1991 he has curated more than 350 exhibitions. Most notable amongst these are the Do It series (1993–), Take Me (I'm Yours) in London (1995), Paris (2015) New York (2016), and Milan (2017); and the Swiss Pavilion at the 14th International Architecture Biennale in Venice (2014). Obrist has also co-curated the Cities on The Move series (1996–2000), Laboratorium (1999); the operatic group exhibition Il Tempo del Postino in Manchester (2007) and Basel (2009), and The 11, 12, 13, 14, 15 Rooms series (2011–2015). Obrist's recent exhibitions include Enzo Mari at Triennale Milano (2020) and WORLDBUILDING at Centre Pompidou Metz (2023) and Julia Stoschek Collection Dusseldorf (2022). The Handwriting Project, which protests the disappearance of handwriting in the digital age, has been taking place on Instagram since 2013 (@hansulrichobrist).
In 2011 Obrist received the CCS Bard Award for Curatorial Excellence, in 2015 he was awarded the International Folkwang Prize, and then most recently in 2025 he received the Prix François Morellet. Obrist has lectured internationally at academic and art institutions, and is contributing editor to several magazines and journals. Obrist’s recent publications include Ways of Curating (2015), The Age of Earthquakes (2015), Lives of the Artists, Lives of Architects (2015), The Extreme Self: Age of You (2021), and 140 Ideas for Planet Earth (2021), Edouard Glissant: Archipelago (2021), James Lovelock: Ever Gaia (2023) Remember to Dream (2023), Une vie in Progress (2023).
Instagram
HOLLY HERNDON & MAT DRYHURST
Co-Designed by Holly Herndon, Mat Dryhurst and sub (led by Niklas Bildstein Zaar with Christopher Blohm, Digital Director); fabrication by The White Wall Company; technical support by Andrew Roberts
This artwork was commissioned and produced by Serpentine as part of Holly Herndon & Mat Dryhurst: The Call, 2024
Data Trust Experiment led by Victoria Ivanova, Jennifer Ding (Data Intermediary), and Eva Jäger with Ruth Waters and Mercedes Bunz. Incubated by the Future Art Ecosystems initiative at Serpentine Arts Technologies. Further research support for data empowerment by the Centre for Data Futures at King’s College London and RadicalxChange. Legal counsel for data empowerment of choir members by AWO and Keystone Law.
UK Choral AI Dataset Participating Choirs
Blackburn People’s Choir, Blackburn
Carnoustie Choir, Carnoustie
Cunninghame Choir, Beith
The Fitzhardinge Consort, Bristol
The Fourth Choir, London
HIVE Choir, Belfast
Leeds Vocal Movement, Leeds
London Contemporary Voices, London
Musarc, London
New London Chamber Choir, London
Open Arts Community Choir, Belfast
Ordsall Acappella Singers, Salford
Ravenswood Singers, Newcastle
South Lakes A Cappella, Windermere
Spectrum Singers, Penarth
UK Choral AI Dataset Production
Choral AI dataset production by Ruth Waters with Vi Trinh and Isobel Peyton-Jones, Serpentine
Artistic Research commissioned by Berlin Artistic Research Programme
Musical research by Marko Weßnigk
Songbook arrangement by Evelyn Saylor, Composer’s Assistant
Machine learning development (HymnAI) for songbook by Algomus, University of Lille
Songbook design by Michael Oswell with Kees de Klein, music typesetting by Udi Perlman
Scientific collaboration on choral AI models (Choral Diffusion) by Ircam-STMS Sound Analysis and Synthesis team (Nils Demerlé, Matéo Fayet, Robin Meier, and Philippe Esling)
Machine learning support from Stability AI research team (Zach Evans and CJ Carr)
Choral recording by Ben Metsers
Data management by Tommie Introna
Choral data post-production by Ian Berman
Live sound engineering by Carlos Boix
HOLLY HERNDON & MAT DRYHURST BIO
Holly Herndon & Mathew Dryhurst are artists renowned for their pioneering work in machine learning, software and music. They develop their own technology, and systems for living with the technology of others, often with a focus on the ownership and augmentation of digital identity and voice. These technical protocols not only facilitate expansive artworks across media, but are proposed as artworks unto themselves.
In 2024 they presented the solo exhibition “The Call” at Serpentine Gallery, and took part in the Whitney Biennial. They co-founded Spawning, an organization building public domain AI models and data infrastructure. Their critically acclaimed musical works are released through 4AD and RVNG Intl. Holly holds a Ph.D in Computer Music from Stanford CCRMA, Mathew is largely self taught. They have held faculty positions at NYU, the European Graduate School and the Antikythera Program at the Berggruen Institute. They were awarded the 2022 Ars Electronica STARTS prize for digital art, and Austria’s first Digital Human Rights Award in 2024. Holly is part of the Berlin Artistic Research program 2024-2025.
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