O P E N  C A L L  / /  N U M B E R  4
28 Sep - 1 Nov 2026

The open call for submissions is open from September 28 to November 1 2026. As with the previous open calls, there will be no theme for the submissions and no submission fee. Artists working with and through artificial intelligence are invited to submit one work. We’re looking forward to seeing the work you choose to share with us.

Submit a work
Open call
// invitation

We are grateful to every artist who chooses to share their work and offer an insight into their practice.

Trust and care

At The AI Art Magazine, we believe that creativity deserves a space built on trust, respect and openness. We are committed to caring for that space, so that people from different backgrounds can express themselves, feel welcome and have their dignity protected. We stand against discrimination, exclusion and extremism in all forms.

A place for reflection

We value personal vision and the many ways artistic work takes shape, whether through years of practice or a first experiment. In a time of rapid change, we hope to make room for a slower encounter with art and with one another. A place to share work, explore unfamiliar perspectives and find connections while leaving room for difference.

Open call
// Categories

Forms of work

Image

A still image or a series of images created with or through artificial intelligence. This category includes photographic works and digitally constructed images.

Moving image

A time-based work created with or through artificial intelligence, such as a video or animation. Please provide a still image and a short video excerpt.

spatial image

A work created with or through artificial intelligence and presented in a physical space, such as an installation or performance. Please provide photographs and video documentation.

System

A work created with or through artificial intelligence in which the system or process is itself the artwork. This may take the form of a protocol, a set of instructions, or a system that responds to input or changes over time. Please describe how it works and provide supporting documentation.

Open call
// Submissions

How to take part

Blue textured fabric with small repeating geometric pattern of black arrows.

Who can submit

The open call welcomes anyone working artistically with and through AI, across disciplines and backgrounds. Collaborative works are welcome.

Blue textured fabric with small repeating geometric pattern of black arrows.

What to submit

One work per artist, accompanied by a few words about your practice and how the work was made. Submissions are made through the Artist Space. There is no set theme and no submission fee.

Blue textured fabric with small repeating geometric pattern of black arrows.

Timeline

The open call runs from 28 September to 1 November 2026.

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Selection + Publication

The jury will select around 50 works for the fourth edition of The AI Art Magazine. These will appear in print alongside contributions that reflect on artistic practices with AI. The publication schedule will be announced.

To the Artist Space
Questions about submitting your work?
we@art-magazine.ai
Open call
// Processo

From submission to publication

Sharing a work is an act of trust, and every submission is received with gratitude. Each printed edition has room for around 50 works. Writing to say that a work cannot be included is one of the hardest moments in making the magazine, knowing how much can go into a submission and how disappointing that message can be. A place in the printed edition is never the measure of a work’s value.

Begin with a work

One work can be submitted through the Artist Space. It can be saved and revisited while the submission is being prepared.

Work + context

The work is accompanied by the artist’s own account of how and why it was made. This gives the jury a context for considering the submission.

Jury review

The jury reviews the submissions for the printed edition. Golden Tickets give individual members space to choose a work and write about what informed their decision.

An edition takes shape

Updates follow as the selection and publication develop. Submissions remain in each artist’s personal archive, including those that do not appear in print.

Time with the work

The selected works appear alongside essays and conversations. Print holds this particular moment in place, allowing it to be revisited as practices continue to evolve.

Further encounters

We're committed to bringing AI art to new eyes and untouched environments. Everybody should be invited to see the future through the next level of art.

The AI Art Magazine _Number 4
The AI Art Magazine is an independent, artist-led print publication documenting artistic practices with and through artificial intelligence.
Each issue can be understood as a kind of “water sample”: it captures a particular condition within a current that keeps moving. The works and conversations gathered in its pages form a record of that moment, including questions that remain unresolved. Over time, these editions become an archive through which changes in artistic practice can be traced and reconsidered.
Print makes room for a slower encounter. Something can be held, revisited or passed to another person.
The magazine moves between art, technology, design and publishing, following the practices and ideas that emerge across them. Artists and writers speak in their own voices, and contradictory positions can coexist. What takes shape is an ongoing attempt to understand a changing field, with enough openness for that understanding to change too.
Open call
// Submisisons in real time
Common Tables is a real-time submission interface that represents every submitted work as a graphic form within a growing arrangement of tables. As works arrive, the seating changes and new neighbours meet.The shared table offers a playful way to imagine artistic works in one another’s company, each retaining its own presence. It gives form to the possibility of coming together to understand something of the world through more than one perspective.The arrangement plays no part in the jury’s evaluation or selection. It is a small gesture of gratitude for every submission and the trust involved in sharing it, giving each work a place in the gathering.
A set of rules guides the seating, drawing on the work’s category, its time of arrival and the contributor’s preference for similarity or contrast in its neighbourhood. Works already seated together have a reason to remain in one another’s company. Each table holds between two and eight works, and every new arrival prompts the arrangement to be reconsidered.These rules bring submission details and stated preferences into relation; they do not analyse or assess the artworks themselves.
Jury
// Edition 4

Great minds curate great art

Edition Number 4
Open Call: 28 Sep - 1 Nov
Release 2027

Jury Member

Auronda Scalera + Dr. Alfredo Cramerotti

Curatorial Duo

Since 2010, Auronda and Alfredo have curated major international exhibitions and festivals bridging art and technology, including Noor Riyadh, Art Dubai Digital, and the Venice Biennale, while advancing digital art through Multiplicity and Web to Verse.

Jury Member

Boris Eldagsen

AI artist & philosopher

Boris Eldagsen is a Berlin-based artist and a thought leader in AI. Known for rejecting the Sony World Photo Award in 2023, he sparked a global debate on AI and photography. He exhibits internationally, is a sought-after keynote speaker, and leads pioneering workshops on AI-generated images.

Photo: Jan Sobottka
Jury Member

Christopher Udoh

Cultural diplomat, curator, and creative strategist

Christopher Udoh is a cultural diplomat, curator, and creative strategist dedicated to cultural preservation, artistic development, and community-led learning. He is the founder and director of Anyen Iyak Foundation for Art and Culture and leads initiatives that connect indigenous knowledge, contemporary creativity, and emerging African cultural leadership.

Photo: Bornwell E. Bornwell
Jury Member

Claire Silver

AI Collaborative Artist

Claire Silver is an anonymous AI-Collaborative artist that works with oil, acrylic, collage, photography, and different digital mediums to create her work. She often blends the classical style and mythos into her art, collaboratively producing work that feels at once familiar and strange. Her work explores themes of innocence, trauma, the hero's journey, and how our view of them  will change in an increasingly transhumanist future.

Jury Member

Emiko Ogawa

Curator and Artist, Head of Prix Ars Electronica

Emiko Ogawa (JP/AT) is a Japanese curator and artist based in Linz, Austria. Since 2013, she has been the head of Prix Ars Electronica. She has played a key role in Ars Electronica’s Art Thinking programs fostering discussions and shaping essential questions as a foundation for envisioning the future. Emiko Ogawa is also a visiting professor at the Art Science Department, Osaka University of Arts. Her contributions to media art extend to publishing articles in outlets such as WIRED Japan and The Nikkei.

Jury Member

Erin Thompson

creative leader, Chief Creative Officer of The Lumen Prize

Erin Thompson is a creative leader working at the intersection of contemporary art, technology, and culture. As Chief Creative Officer of The Lumen Prize, she develops partnerships, programs, and curatorial initiatives that champion artists exploring new forms of creative practice. Her perspective is shaped by 15 years of helping artists and ambitious creative ideas find their way into the world.

Jury Member

Grit Wolany

Freelance Art Director,
AI Scout at ZHdK

‍Grit Wolany is a freelance art director and AI scout at Zurich University of the Arts (ZHdK). Her artistic focus lies on explorative work with generative algorithms. Grit teaches GenAI at various universities and regularly holds workshops and lectures.

Imae: Grit x MJ
Jury Member

Liri Argov

Creative Entrepreneur, Co-Founder of OFFF TLV

As a creative entrepreneur, Liri loves to envision, execute, and push new ideas and bring them to life. Liri is Co-Founder of OFFF TLV, the global festival of design, and serves as Director of Brand at Guesty.

Jury Member

Pep Salazar

cultural strategist, CEO at OFFF

Pep Salazar is CEO at OFFF, a global platform for the creative industry that sets the trends for new imagery in the fields of design, art, and post-digital culture. He was the director of Digital Impact, the first large-scale exhibition of digital art in Spain (2023, Disseny Hub Barcelona). His professional expertise is closely linked to the creative and digital sector and has led him to become an executive director of the OFFF festival with over 50 editions held in Barcelona and worldwide. He has collaborated with such projects as Sónar, Teatre Lluire, CCCB, Fura dels Baus, L'Auditori, Mobile World Congress, among others.

Jury Member

Sara Giusto

Producer of Aww Inc.

Sara was born in 1995 in Fukuoka, Japan, and spent ages 8 to 18 living in Canada and Hawaii. She returned to Japan for university and graduated from Musashino Art University in 2018 with a degree in Oil Painting. After working as a curator at an art gallery, in 2020 she joined Aww Inc., a company specializing in virtual humans. Sara was selected as a Forbes JAPAN 30 UNDER 30 honoree in the Science, Technology & Local category in 2023. In April 2024, she gave a TED Talk titled “The Rise of Virtual Humans—and What They Mean for the Future” at TED Conferences.

Jury Member

Xiaomi

Curator AI

Xiaomi is the magazine’s experimental AI jury, whose age is measured in edition cycles rather than years. She consists of a technological core for pattern analysis and a narrative identity. While the task of interpretation remains with humans, Xiaomi selects works based solely on their visual surface.   In this third edition, her own surface becomes relational, responsive to the artist’s gaze: she functions as a chameleon, whose own visual form is given by the selected artist. Metaphorically speaking: with this third edition, Xiaomi begins to move out, taking her first steps beyond the editorial framework.

Image by love0destroy
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WHY?
The AI Art Magazine emerged from the desire to set something lasting against the constant flux of digital image streams. Each issue can be understood as a kind of “water sample”: an archive of a moment at the intersection of art and artificial intelligence, taken from a current that keeps moving.
Media coverage
WHO?
Curious. Restless.
People and agents asking what if.
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