Hans Ulrich Obrist on AI, digital art and future collabs

As the art world increasingly intersects with the rise of AI and other technologies, art historian, curator, critic and artistic director of London’s famed Serpentine Galleries, Hans Ulrich Obrist, has positioned himself at the forefront of these transformative developments. Best-known for his innovative projects and collaborations over several decades, Obrist has been instrumental in bridging the gap between the art world and digital art through initiatives such as the Serpentine’s groundbreaking “Year of AI” and partnerships with tech and luxury brands. Jing Daily spoke with Obrist about the shifting paradigms of art in the digital age and the profound cultural implications of this evolution, as well as about the curator’s storied career and personal views on China, luxury and more. Jing Daily: How is AI reshaping the way art is perceived and created, and why did you feel this was the right moment to declare a ‘Year of AI’ at Serpentine? Hans Ulrich Obrist: The intersection of AI and art has been a central theme at the Serpentine, not just in 2024, but for over a decade. Back in 2012, at a TED conference in Marrakesh, I was asked why museums don’t have a chief technology officer, or a dedicated tech department. It was such a thought-provoking question, and it inspired me to take action. On my return to London, I reached out to a group of young artists and technologists and soon hired Ben Vickers, an artist and tech visionary, to establish a technology department at the Serpentine. This made us one of the first contemporary art institutions to create a dedicated team for technology, which now includes five curators. Through this, we’ve been able to explore AI, blockchain, video games, and more. For example, we collaborated with Gabriel Massan on a video game and recently worked with Rafiq Anadol on an AI project inspired by nature. This year, we celebrated a decade of engagement with AI by presenting two major projects: one focused on AI-generated images, and another on sound with Holly Herndon, where visitors could interact with the data sets behind the artwork. It’s essential to break down the barriers between art, technology, and science to address the challenges and opportunities of our time. JD: How do you see luxury brands engaging with cutting-edge art forms like AI-driven installations to appeal to new generations of collectors and consumers? HUO: The relationship between museums and brands has evolved significantly. Historically, museums collaborated primarily with other institutions, but today, we’re exploring new alliances with tech companies, fashion, and luxury brands. For instance, the Serpentine has worked with Tezos on blockchain initiatives and partnered with Google’s Cultural Institute. These collaborations allow us to reach new audiences and experiment with innovative formats. One particularly successful project was our collaboration with Fortnite, where we created an interactive space that attracted 152 million visitors in just two weeks. Such partnerships are valuable not only for museums, but also for brands seeking to engage with younger, tech-savvy audiences. The intersection of art, technology, and luxury offers vast potential for mutual growth and creativity. JD: Interest in avant-garde and digital art forms is growing. How do you view the role of China in shaping future cultural trends, particularly at the intersection of tech, art, and luxury? HUO: China’s art scene has been close to my heart since I first visited in 1996 for “Cities on the Move” exhibition. Over the years, I’ve collaborated on projects like the Guangzhou Biennale, the Shenzhen Architecture Biennale, and numerous “do it (around the world)” initiatives. Pioneering media artists like Zhang Peili have been central to my understanding of Chinese art, and more recently, artists like Lu Yang have been pushing the boundaries of video and digital art.China is a cultural powerhouse, particularly in blending technology with art. At the Serpentine, we showcased a mixed-reality exhibition with Cao Fei, highlighting the intersection of film, installation, and technology. As China’s art scene continues to innovate, it will play a crucial role in shaping global trends at the nexus of art, technology, and luxury. JD: You’ve been a long-time advocate of creating spaces where art can merge with technology and science. How do you see the role of institutions like the Serpentine evolving in the next decade? HUO: Institutions must embrace change. As Zaha Hadid once said, “There should be no end to experimentation.” At the Serpentine, we’ve focused on breaking down barriers between disciplines. Our programs span architecture, ecology, technology, and civic engagement, and we aim to make these fields more interconnected. The future lies in porosity — bridging the gap between art and society. For instance, we’ve brought art into public spaces, like our collaborations on electronic billboards in London’s Piccadilly Circus with Barbara Kruger. Technology offers exciting possibilities for dynamic, evolving artworks in everyday locations, allowing us to connect with people beyond the walls of museums. JD: Your work often bridges cultures and disciplines. What global cultural trends are capturing your attention, and how do you see them influencing art? HUO: Public art has always been a passion of mine. I believe art should reach people where they are — train stations, subways, public parks — with works that evolve over time. Technology enables this, offering dynamic and interactive experiences that engage people in their daily lives.Another trend is the ecological focus of contemporary art. Many artists are addressing environmental issues through gardens, farms, and sustainable practices. For example, Alexandra Daisy Ginsberg’s AI-powered Pollinator Pathmaker in Kensington Gardens prioritizes plants for pollinators over human preferences. This reflects a broader movement towards world-building and long-term, impactful cultural production. JD: How do you see contemporary artists, particularly in China, collaborating with luxury brands to create new narratives in both fields? HUO: When artists collaborate with brands, it’s essential that both sides bring something unique to the partnership — where one plus one equals eleven. Brands can provide artists with access to broader audiences, while artists can offer fresh perspectives and creativity that transcend traditional branding. For example, I’ve worked with Agnes B to publish Point d’Ironie, a free art newspaper distributed in her stores and schools. This kind of collaboration democratizes art, making it accessible to new audiences. Artists have long been interested in creating products that reach beyond galleries, like Andy Warhol’s perfume or Daniel Spoerri’s multiple editions. These partnerships foster a deeper connection between art and everyday life, offering exciting opportunities for storytelling and engagement. JD: The rise of AI-generated art challenges the concept of authorship. How do you think collectors will approach the valuation and acquisition of AI-driven artworks in the future? HUO: AI-generated art is shifting our understanding of authorship. Increasingly, artworks are collaborative and dynamic, evolving over time like living organisms. At the Serpentine, projects like Holly Herndon and Mat Dryhurst’s “The Call” explore these ideas, using choir-based data sets to develop collective AI models. The result is not just a static artwork, but an evolving entity shaped by its contributors. This challenges traditional notions of value and ownership. Collectors will need to adapt to these new frameworks, where power and credit are distributed among creators, contributors, and even algorithms. As we enter this age of collaborative and evolving art, the role of collectors will transform to embrace these complexities. JD: As someone who is constantly traveling and connecting with artists worldwide, what similarities and differences do you notice between the art scenes in places like China, Europe, and the US? HUO: We’re living in an era of polyphony, with multiple art centers across the globe. The idea of one cultural capital, like Paris or New York, dominating the art world is a thing of the past. Today, local art scenes coexist and interact, enriching one another. Globally, there’s a shared interest among artists in exploring technology, particularly video games as a medium for storytelling and world-building. At the same time, I see a counterbalance to globalization with efforts to preserve local traditions, languages, and crafts. Édouard Glissant’s concept of mondialité — a global dialogue that enriches identities without erasing them — resonates deeply. It’s about finding a middle ground between homogenization and isolation, fostering richer, more complex exchanges. JD: Is there anything else you’d like to share? HUO: During the lockdown, I wrote my first autobiography in French, reflecting on my life, art, and unrealized projects. It includes stories about my mother, who became an artist at 80, and my dream of creating a new Black Mountain College. For years, I’ve asked artists about their unrealized projects; this book explores my own. It will be translated into English by Penguin, and I hope it offers readers a personal glimpse into my journey. Art and life are inseparable, and this book is a testament to that. This interview has been edited and condensed for brevity and clarity. Jing Daily presents Jing Masterminds — a regular, exclusive interview series profiling today’s most iconic names in art, fashion, commerce and culture. Delving deep into their personal journeys, creative processes, business strategies and societal impacts, the series offers readers an intimate look at the lives and minds shaping our industries.

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Hans Ulrich Obrist on AI, digital art and future collabs