Based on the work of Albertine Meunier and aurèce vettier by Annelise Stern For the past few years, one question has been systematically asked of artists working with artificial intelligence. I have heard it in studios, at exhibitions, over dinner, sometimes phrased as an almost aggressive joke: but are you really the one creating? This question never fails to irritate me, perhaps because it rests on a deeply romantic notion of creation. As though artists had always worked al

You just don’t know it yet. The art world has not fractured. It has fragmented. Every fracture implies an intact before, followed by a moment of rupture, and the promise of an impossible repair. Fragmentation, by contrast, is a diffuse, structural condition, with no identifiable point of origin. Fragmentation does not suddenly happen one morning. It grows in blind spots, in the silent shifts of institutions, in the splintering of the market, spreading through the proliferatio

A major gallery today operates like a major football club. We no longer defend a work; we defend a brand.

We are currently witnessing the rise of a certain kind of artist who, over the next few years, is likely to become the nightmare of many gallerists. And yet, these artists are not lacking in talent. Quite the opposite. Sales are there too. They sell well, sometimes extremely well. So what exactly is wrong with these supposed golden geese? Let me tell you about the cultural and generational clash currently reshaping the art market and knocking quite a few gallerists off their

With the Alphabet, Pauline Faieff turns a body censored by algorithms into a language only humans can read. Collecting this work means choosing to disobey too.

It took me a few years to understand the difference between the art market and culture. A few more to understand how to reconcile these two worlds in an artist’s career — and in my own. These lines put nine years of reflection and experience into words. Reading them earlier would have saved me time. I hope they do the same for you.