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AI to Z: an art & tech alphabet for 2024

The art, artists and awards that pushed boundaries this year

Louis Jebb
23 December 2024
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Waterfalls of light: Universe of Water Particles on a Rock where People Gather (2018/2024), teamLab Borderless, Azabudai Hills, Tokyo © teamLab, courtesy Pace

Waterfalls of light: Universe of Water Particles on a Rock where People Gather (2018/2024), teamLab Borderless, Azabudai Hills, Tokyo © teamLab, courtesy Pace

A is for AI and the publication of the eye-opening annual Artificial Intelligence Index Report by Stanford University.

B is for the autonomous AI artist Botto, whose third anniversary was marked with a show and sale at Sotheby’s, New York.

C is for Judy Chicago, whose Serpentine London show Revelations invited visitors to mint a digital participation token.

D is for the noteworthy Digital Art Mile festival launched in Basel in June.

E is for Efsun Erkiliç, co-founder of Refik Anadol Studio and of Dataland, Los Angeles, the first museum for AI art.

F is for Urs Fischer, who invited owners of his Chaos video sculptures to have them “fused” into new animations.

G is for the artist Gabriel Massan, whose computer-game-based Third World began a global voyage in his native Brazil.

H is for Holly Herndon and Mat Dryhurst, whose Infinite Images stood out at Fellowship’s Paris Photo stand.

I is for the VR work Ito Meikyū, which won Boris Labbé the Venice Immersive Grand Prize at the Venice Film Festival.

J is for Jason Bruges, whose giant reimagined digital Tiffany diamond dazzled shoppers at Selfridges, London.

K is for Meiro Koizumi, whose Altars of Prometheus addressed artificial AI as a path to dystopia during Art Week Tokyo.

L is for Las Vegas, home to the giant immersive venue Sphere, whose next iteration is planned for Abu Dhabi.

M is for Museum of the Moving Image in New York, which offered visitors free fragments of digital art.

N is for maturing attitudes to the NFT (non-fungible token) market and Taschen’s publication of Robert Alice’s scholarly study On NFTs.

O is for 10F1, the standout digital art collectors who back Refik Anadol, Beeple, Holly Herndon and Mat Dryhurst.

P is for Parsons & Charlesworth design studio, Futures Award winners at the 13th annual Lumen Prize for digital art.

Q is for the tenth anniversary of Kevin McCoy minting his Quantum (2014), widely regarded as the first NFT.

R is for Refik Anadol, who sought to demystify AI in his one-man Serpentine show Echoes of the Earth.

S is for Serpentine’s Arts Technologies, publisher of Future Art Ecosystems 4, its report on Art x Public AI.

T is for teamLab Borderless, the 7,000 sq. m interactive and immersive art museum in Tokyo’s Azabudai Hills.

U is for the UK’s Museum Data Service, launched with backing from Bloomberg Philanthropies and Leicester University.

V is for Richard Vigniel (RVig), winner of the 2024 ABS Digital Art Prize.

W is for John Akomfrah’s haunting video piece Becoming Wind (2023), featured at the LG OLED Lounge at Frieze London.

X is for x-ray spectroscopy, used by winners of the $1m Vesuvius Challenge to decode ancient Roman scrolls.

Y is for Your Ghosts Are Mine, featuring video from 14 years of the Doha Film Institute, at Palazzo Franchetti, Venice.

Z is for Niklas Bildstein Zaar, of sub studio, who worked with Holly Herndon and Mat Dryhurst on the arresting design of their AI work The Call at Serpentine Galleries.

Community Curation: Rodell Warner, Ceren Su Çelik and Anna Malina were the three artists selected to be shown at the Museum of the Moving Image in New York

Courtesy of the artists

TechnologyArtificial intelligenceArt & Technology
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