Next week, I head to Berlin for Art on Tezos, wearing three hats that feel increasingly intertwined: as an AI artist showing new work, as a curator helping to shape the conversation, and as Head of Community here at Right Click Save. It’s an honor to represent RCS at an event celebrating one of the most artist-friendly ecosystems in Web3.

As AI dominates headlines: from policy debates to labor and environmental concerns to existential hand-wringing, being an artist who works with these technologies means navigating an increasingly contentious landscape. The conversation has grown loud, often reductive, and sometimes hostile. I believe that artists experimenting with these technologies can contribute vital and thoughtful exploration of what it means to create alongside machine intelligence, rather than sheer techno-optimism.

Berlin feels like the right place for this moment. Art on Tezos has always prioritized artists over hype, and their programming for the Berlin event features a number of prominent artists working with AI, including DeltaSauce, Kevin Abosch, Terence Broad, and Mario Klingemann. I’m also excited to see “Starmirror” while in Berlin, the latest exhibition by AI pioneers Holly Herndon and Mat Dryhurst, on view at KW Institute for Contemporary Art. Mostly, I’m looking forward to the serendipitous encounters and late-night conversations that make events like these so special.

More from Berlin next week!

— Danielle King, Head of Community at RCS

Art-world leaders assembled at Le Meurice hotel, Paris, on October 23, for a “cultural table” co-hosted by Katherine Fleming, President and CEO of the J. Paul Getty Trust, and Joseph Fowler, head of arts and culture at the World Economic Forum (WEF), on the subject of “Bridging Worlds: Culture as a Force for Connection in Times of Division”.

The event was the latest in a series of WEF Cultural Tables run by Fowler since 2023, in London, New York, and Paris. Others have been held at Davos, where the world’s business leaders hold high-level encounters at the WEF’s annual meetings in the Swiss mountain retreat and where Fowler has developed a diverse, cutting-edge, arts and culture program. The Paris event was the first Cultural Table to be held in collaboration with the J. Paul Getty Trust and the first event of its kind to be co-presented by Getty and the WEF. Hans Ulrich Obrist, Artistic Director of Serpentine Galleries, London, speaking at the event, cited Danielle Brathwaite-Shirley’s recently opened show “The Delusion”, at Serpentine—where audience members use a gaming interface to ask and answer difficult questions—as an example of an art-world initiative that generates bridging conversations in times of division.

Reflecting on the event, Fowler tells Right Click Save that “arts and culture remain among our most powerful universal connectors, rooted in heritage yet boldly future-facing. In an increasingly fragmented world, they help us rediscover our shared humanity, nurture empathy, and open spaces for dialogue that transcend borders and differences”.

OGR Torino is presenting contemporaneously two headline-making recent exhibitions that intersect art and technology. Laure Prouvost’s “We Felt a Star Dying” (commissioned by LAS Art Foundation, Berlin, and co-commissioned by OGR Torino) and “Electric Dreams: Art & Technology Before the Internet” (organized by Tate Modern and OGR Torino) are showing at the new hub of innovation and art in the north Italian city from October 31, 2025 to May 10, 2026.

The Fondation Etrillard and the Académie des Beaux-Arts have awarded the Swedish artist Jonas Lund the first edition of the Digital Arts Prize for his work MVP (Most Valuable Painting) (2022). The winning work, made up of 512 evolving digital paintings, forms a dialogue between abstract painting and digital art, rethinking the canvas as an evolving system. The jury, at a prize-giving ceremony at the Palais de l’Institut de France, Paris, on October 22, praised the intelligence of Jonas Lund’s work both from a technological and artistic point of view.

The one thing that has had a particular impact on me recently was “David Hockney 25” at the Fondation Louis Vuitton in Paris (April 9 to September 1, 2025, a retrospective covering Hockney’s work between 1955 and 2025). The impact of it on me was crazy. Because I was thinking I was making an OK size of paintings. And then I went to “Hockney” and there are giant paintings with multiple patterns. You see how he has practised [and] how he started with some style but kept pushing, kept evolving. Working with topics like portraits or perspectives, and playing with different mediums: oil, acrylic, charcoal, drawings, watercolor.

I have always believed that an artist’s career is not linear, but this was proper proof that it can be. What was fascinating to me was how he has evolved through painting, oil, and then acrylic, iPad, digital, and animation. He travels generations of art. I think he is very interested in just sitting in the moment where he is in nature, always on the go but observing the world, trying to see it from a different angle.

There was this giant painting [in the show], at least ten metres across, with multiple panels linked together, a scene in California. And it made me think of my work when I play with dimensions in 3D and 2D. [You have Hockney saying] from one point of view, “I will show this,” and from another point of view, in the same painting, “I will show this.” In different [parts] of the painting, the “camera angle” is different. You have these different perspectives, stories, and multiple points of view. And as a viewer, when you look at it, you don’t know where the start [is] and [where] the end. He just plays with our senses and we are like, “OK, that’s the stuff.”

I saw the show at Vuitton just before going on vacation, and right after that I wanted to make even bigger paintings or even tinier paintings. It just kept me pushing [more] into painting: to keep practising because you never know where it will lead you.

— William Mapan is an artist, coder, and teacher based in France. He works with paint in the morning and with code in the afternoon. His work is dedicated to bridging worlds through color, texture, and composition in order to create the unexpected. His most recent public presentations include the Art Basel Paris poster series Superpositions, and the group show “Code+Matter” (with Florian Zumbrunn, Julien Espagnon, and Alexis André at 17 Rue Chapon, October 21-26). On October 30 he presented recent work and a sketchbook at “Behind the Screen”, Arab Bank Switzerland’s fireside chat event in Geneva.