Lately, I’ve been thinking about different forms of entanglement—those that blur the lines between different disciplines, between humans and nonhumans, and between digital and physical worlds.

Already this year, Right Click Save has hosted conversations between Jesse Damiani and N. Katherine Hayles, the pioneering theorist of the posthuman, and between fungi expert Merlin Sheldrake and artist Helen Knowles. It therefore feels appropriate to conclude the year with an exhibition examining the ways technology is woven into natural systems. Co-curated by the editors of RCS and MASSAGE MAGAZINE at NEORT++ in Tokyo, “Patterns of Entanglement” has inspired a special essay by scholar Sy Taffel on the subject of art after the Anthropocene. Meanwhile, artist Janet Biggs and scholar Toby Heys are tracing connections between art and AI, moving from arcane histories to speculative futures—a reminder that such conversations are nothing new, even if the tools are.

Closer to the institutional heart of the art world, we’re seeing different forms of entanglement play out: Metakovan’s new Singapore space signals the continued convergence of crypto wealth and physical exhibition infrastructure. Meanwhile, in Liverpool, Bassam Issa Al-Sabah and Nina Davies are investigating the ways digital technologies distort our realities, creating immersive installations that tangle viewers in questions about perception and mediation.

This week, we also remember Frank Gehry, the architect whose hybrid process developed alongside and often in collaboration with his artist peers. Gehry’s practice reminds us that the relationship between technical innovation and creative vision has always been more complex than strict disciplinary categories suggest.

— Danielle King, Head of Community at Right Click Save