adina glickstein

 Nile Koetting, Cherry script , 2023, e ink display animation, 9.5 x 12 x 2 cm. Courtesy: the artist and Parliament, Paris

Nile Koetting, Cherry script, 2023, e ink display animation, 9.5 x 12 x 2 cm. Courtesy: the artist and Parliament, Paris

Two exhibitions in Paris – Nile Koetting at Parliament Gallery and the group show “Au delà” at Lafayette Anticipations – conjure data’s limitations in the face of the divine.

 Rosemarie Trockel, Replace Me , 2009. © Rosemarie Trockel and VG Bild-Kunst, Bonn 2022

Rosemarie Trockel, Replace Me, 2009. © Rosemarie Trockel and VG Bild-Kunst, Bonn 2022

Claiming to automate labor, is AI actually creating more busy work for humans?

 Still from Keiken, Morphogenic Angels , 2022–23, prototype role-playing game. Courtesy: the artists

Still from Keiken, Morphogenic Angels, 2022–23, prototype role-playing game. Courtesy: the artists

On Friday 31 March at Soho House Berlin, Tanya Cruz speaks to Adina Glickstein about Keiken’s latest game, Morphogenic Angels, and the collective’s transmedial production of speculative worlds.

 Still from “EVERY ANGEL IS TERRIFYING,” produced by Praxis Society, 2023

Still from “EVERY ANGEL IS TERRIFYING,” produced by Praxis Society, 2023

Hearing murmurs of crypto city-states in the making, Adina Glickstein ponders the complicated politics of exit.

 Miu Miu, fall 2022 ready-to-wear collection. Photo: Filippo Fior 

Miu Miu, fall 2022 ready-to-wear collection. Photo: Filippo Fior 

Forget Y2K; the 2010s are already back again. But retromania leads us down into a labyrinth of data horror, writes Adina Glickstein in her February column. 

 Still from Toshi Hoo, Raymond Kurzweil, Anthony Waller,  The Singularity Is Near , 2010 (detail)

Still from Toshi Hoo, Raymond Kurzweil, Anthony Waller, The Singularity Is Near, 2010

Will we still set New Year’s resolutions when our consciousness lives on computers? Adina Glickstein rings in 2023 with transhumanists, goblins, and worms. 

 Courtroom sketch of Elizabeth Holmes being cross-examined by prosecutor Robert Leach, November 30, 2021. REUTERS/Vicki Behringer

Courtroom sketch of Elizabeth Holmes being cross-examined by prosecutor Robert Leach, November 30, 2021. REUTERS/Vicki Behringer

This month, Adina Glickstein considers three girls’ grifts – and the startup-ification of subjectivity that might be the real crime after all.  

 Steven Warwick, Scarecrow , 2021. Photo: Angele Balducci

Steven Warwick, Scarecrow, 2021. Photo: Angele Balducci

Being bad feels good. This month, Adina Glickstein chats with the artist Steven Warwick about scapegoats, salvation, and Stanley Kubrick.

 Urbit graphic design by Romina Malta

Urbit graphic design by Romina Malta

Is Dimes Square a Network State? At Urbit Assembly, Adina Glickstein looks for an exit.

 Extinction meme via @angelicism01archive2 on Instagram

Extinction meme via @angelicism01archive2 on Instagram

Adina Glickstein writes a travel diary from the end of the end of the world.

Scent, memory, and language all imperfectly conjure the moments we keep coming back to. Adina Glickstein writes about Rimbaud, a new fragrance from Celine.