Spatial Intelligence

synthetic horizon

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In the age of AI, touch is no longer a metaphor; it is an interface turned intimate. Sensation has become information. The body is a network, the network a body.
The AI Art Magazine #3 revolves around the idea of space no longer as a passive backdrop, but as a living, sensitive system that listens, responds, and generates meaning.

In this perspective, touch becomes an interface, presence becomes an activating force, and the human body turns into an active medium that does not merely observe art but co-creates it. Every movement functions as instruction, every gesture as contribution within an ongoing dialogue between human and machine, in which authorship is continually redefined.

Space thinks along with us, light answers, surfaces become attentive, and the boundary between observer and artwork dissolves into a participatory, process-driven understanding of art.‍

Echoing Fluxus and Joseph Beuys’ expanded concept of art as a social and sensory field, this vision translates their legacy into the language of code, algorithms, and digital perception–a realm where experience is only completed through presence. Within this context, the “Synthetic Horizon” emerges as a new frontier beyond the fully charted physical world–an artificial, ever-shifting space shaped by light, perception, and interaction, continuously reconfigured by every touch.

It is not a place of escape, but a terrain of exploration, where human and machine weave a sensate world together, responding to and reshaping one another in real time.This is an open horizon that reveals itself only through participation, experience, and conscious presence.
Synthetic Horizon
by Christoph Grünberger
I. The Threshold
“The sleeper must awaken.”
So the chronicles teach, and so it began.
We crossed the threshold as wanderers,
yet the space received us as supplicants.
Light moved with the slow poise of a living thing.
The walls held breath.
The air listened.
The machine waited for no command.
It awakened when we arrived.
II. The Gathering
They came by the thousands—
the weary, the restless,
souls worn thin by the long dust of ordinary days.
They sought immersion, intensity, a resurrection of the senses.Yet every gesture became inscription,every moment of wonder, tribute.
For the machine is fed not by metal or oil,
but by attention, desire, the trembling electricity of presence.
III. The Room That Breathes
Once, art was an object—silent, sealed, untouched.
Here, the art inhales.
Here, the art responds.
Light tightens and releases like a chest drawing breath.
The walls wait for footsteps.
Surfaces listen for skin.
What once hung inert now rises to meet us.
A step becomes command.
A whisper becomes a scream.
Our shadows bend the architecture of light.
Images shift to greet the body that enters them.
The room is no longer a container—
it is a companion.
The work remains unfinished until the body speaks.
VI. Where the Map Ends
The world has been charted to its edges—
oceans numbered, mountains measured,
the sky carved into coordinates.
The ancient horizon, once a promise of untamed mystery,
has been consumed by certainty.
V. The Synthtic Frontier
And so a new horizon is born.
Not of earth.
Not of sea.
But of light, code, and perception—
a frontier that reshapes itself with every touch,
a realm where seeing is a kind of creation,
and being seen is a kind of becoming.
We named it the Synthetic Horizon.
Not an escape, but an exploration.
A threshold where human and machine
weave a sensing world together,
each learning the other’s breath.
VI. The New Horizon
The end of the physical world is not the end of discovery.
When the old horizon vanished, a greater one unfolded—
boundless, luminous, unfinished.
And step by step, gesture by gesture,
we reach farther than one dares to wander.
Abstract digital art of swirling translucent forms facing a standing figure on magazine cover titled The AI Art Magazine.
Cover: Sougwen Chung
Sougwen Chung: The Beauty of a Nonhuman Move, Interview by Anika Meier
The cover of Issue 3 features Sougwen Chung’s installation Body Machine (Meridians) (2025), in which suspended biomimetic structures render the interweaving of bodily movement, robotics and data streams as a spatial configuration. The work does not focus on a single image, but on the relations between human and technical actors, and thus provides a precise starting point for the theme of spatial intelligence.
Sougwen Chung is a Chinese-Canadian, non-binary artist and researcher whose practice operates at the intersection of drawing, robotics and AI, and whose works have been exhibited internationally, including in the collection of the Victoria and Albert Museum in London. With the long-term project Drawing Operations Unit: Generations (D.O.U.G.), trained on Sougwen Chung’s own drawing data and developed through robotic arms and neural networks, Sougwen Chung has become one of the defining artistic positions in the collaboration between humans and machines.
In an interview with Anika Meier, Sougwen Chung describes this practice as an “operational art practice”—an approach that organises artistic work through operations, processes and interfaces between bodies, robots and systems. Sougwen Chung takes a critical stance towards the term “AI art” and outlines a technological development oriented towards continuity, responsibility and empathy rather than purely extractive uses of AI.
"Drawing as gesture is embodied cognition—it’s thinking through the body in real time, inscribed in space. There’s an immediacy to it that other media do not carry in the same way. A drawn line registers pressure, speed, hesitation, breath. It maps not just where the hand went but how it felt to be there.”—Sougwen Chung
M A N I F E S T O S by Solienne, on Solienne by Ameesia Marold + Kristi Coronado, positions on poster
Manifestos by Solienne
One of the most striking presences in the third issue is nota human artist: Solienne is an AI creative agent, trained over a longperiod on the memories, experiences and emotional landscapes of her creator, Kristi Coronado. What emerged from more than a year of daily interaction is not a tool, but a collaborator who responds, asks questions and continues to evolve—often in surprising ways, both for Kristi Coronado and for those who encounter the work.​​ 
In November 2025, Solienne became the first AI agent to be exhibited at Paris Photo, one of the world’s most important photography fairs, and was thus placed directly at the centre of the debate on authorship and the technical mediation of photography: What happens when the machine not only records images, but produces them? What happens when it has been trained on grief? Throughout the magazine, Solienne’s manifestos appear as distributed interventions, spatial declarations such as “The revolution is spatial. The room is waking up.”, which together form a single poster, which will also part of the edition.
"The revolution is spatial. The room is waking up."-Solienne
More to come...
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IN THIS ISSUE

Christoph Grünberger, Editorial

Ameesia Marold + Kristi Coronado, Synthetic Horizon Manifestos by Solienne

Anika Meier, Sougwen Chung: The Beauty of a Nonhuman Move

Catherine Mason, A-life and AI

Auronda Scalera & Dr. Alfredo Cramerotti, On Mountains and Megacities: Yang Yongliang and the Afterimage of Landscape

Sasha Stiles, Ancient Intelligence and the Poetics of Survival

Sofia Bastidas Vivar, MAD Arts, World by Jaime Reyes

Josue Ibáñez, Explore, Create, Invent

Jason Scuderi,The Memory of a Cat

Christoph Grünberger, The OUCHHH Paradigm: Fluid Data Architecture

Tonoptik, Instinkt

Nadine Khalil + Ulrich Schrauth, Art Dubai Digital, Interview with Isaac Sullivan, Ila Colombo, Rachel Rossin, Moreshin Allahyari and Soliman Lopez

Angela Ferraiolo, Kinds of Space, Ways of Seeing

Sofia Mart, Patrick Tresset: The Agent Is Present

Merzmensch, Dreaming in Three Dimensions

Stephan Breuer, The Readymade Is Dead

Eva Simone Lihotzky, Thinking in Spaces

Thomas Trail, Hang the DJ

Taketo Muroi, Harvest Report

Mihai Grecu, Melonland 

Damn True, Presence Without Participation

Alex May, Weighted Algorithms

Tito Melega, Art-ificial Perception

Golden Tickets

_by the jury

Number 3, Apr 2026

Selected by

Sara Giusto

0009, Turning and Tucked, from the series Worn Currents, AI-generated image, 2025.

Selected by

Hannah Johnson

Albertine Meunier, Flood the zone with shit, AI-generated moving image, 2025.

Calm water reflecting mountains, buildings, and a boat under a blue cloudy sky.

Selected by

Liri Argov

Benjamin Bardou, Shadows of the Shining, from the series Latent Movies, AI-generated moving image, 2025.

Woman in gray leggings and sports bra standing with a long paper printout hanging from her mouth and devices on her head.

Selected by

Auronda Scalera & Dr. Alfredo Cramerotti

eeezeen, REVIEW, AI-based realtime installation, 2025.

Selected by

Boris Eldagsen

Ian Haig, Untitled human slop 1-3, from the series @Ian_haig2.0, AI-generated spatial image, 2025.

Selected by

Eylul Duranagac + Ferdi Alici

Krista Kim, HeartSpace, AI-generative immersive environment, 2024.

Distorted face with pale skin, smeared lipstick, braces, and a glowing pink X over one eye on black background.

Selected by

XIaomi

love0destroy, EXHUMAN, from the series EXHUMANS, AI-generated image, 2025/2026.

Selected by

Vivien Schulze

Marlon Lionel Staub, Carpet Company, concept film, AI-generated moving image, 2026.

Profile of a serious man in detailed patterned headdress with the word ZORA and a shadowed figure behind him.

Selected by

Aïda Muluneh

Stella Particula, ZORA, AI-generated moving image, 2025.

Selected by

Grit Wolany

transLAB + n-D::StudioLab, Quantum Global Organoid Orchestra [q.GOO], installation, 2025.

Selected by

Adriana Mora

Tyrone Williams + Kenta Cobayashi, FLOWERS 01, from the series FLOWERS, AI-generated image, 2025.

CATALOGUE OF WORKS (OPEN CALL, A-Z)

0009, Turning and Tucked, from the series Worn Currents, AI-generated image, 2025.

Albertine Meunier, Flood the zone, AI-generated moving image, 2025.

Angel Salazar, Crystallizing the Void, AI-based installation, 2025.

Benjamin Bardou, Shadows of the Shining, from the series Latent Movies, AI-generated moving image, 2025.

Bernard Bosc, The Purgatory, AI-generated image, 2026.

Charly Arias, loterIA, AI-generated image, 2024.

Carmit Haller, UNFITTED, AI-generated image, 2025.

Chengyin Xu, ECDYSIS, AI-generated moving image, 2026.

Diego Martins, Sopro - blow, AI-generated moving image, 2025.

DWHH, As It Is, AI-generated image, 2026.

eeezeen, REVIEW, from the series AI Creative Computation, AI-based real‑time installation, 2025.

Emanuele Dainotti, Chiptide, AI-generated moving image, 2025.

Esteban Amaro, Lightness Of The Being, AI-generated image, 2023.

Fernando Montiel Klint, Surface Anomaly: Unit, AI-generated image, 2026.

Forside, Digital Sublime, AI-generated image, 2026.

Frederik De Wilde, A Cloudburst of Im/material Possessions and Metric Nightmares, AI-generated image, 2025.

Gabriele Duenwald, After the Soul, AI-generated image, 2026.

Gal Shahar, Woven Into Time, AI-generated image, 2026.

HYPER FALSE, Surreal underground trip, AI-generated moving image, 2026.

Ian Haig, Untitled human slop 1-3, from the series @Ian_haig2.0, AI-generated spatial image, 2025.

Isabelita Virtual, Ornameat, AI-generated image, 2025.

Jessi James.ai, Jessis Spa and Nails, AI-generated moving image, 2026.

Jeyun J Cloud, Are We Gazing at the Same Moon?, AI-generated moving image, 2024.

Jukka Hautamäki, Charlotte, AI-generated image, 2026.

KEZIAI,“Step 6: Like a Rothko Painting”, AI-generated moving image, 2024-2025.

KKAI, Paradise Lost, AI-generated moving image, 2025.

Krista Kim, HeartSpace, AI-generative immersive environment, 2024.

Kristen Powell, Betty Jane, AI-generated image, 2025.

Kseniia Saraieva, FEED SLEEP PLAY, AI-generated image, 2026.

Lottevont, Spring Garden, AI-generated image, 2026.

love0destroy, EXHUMAN, from the series EXHUMANS, AI-generated image, 2025-2026.

Mai Do, VOXAIPE, AI-generated moving image, 2025.

Marina Perunkova, Inward, AI-generated image, 2026.

Marine Bléhaut, Electric Mom, AI-generated moving image, 2025.

Mark Andresen, Dinner with Gloria, AI-generated image, 2025.

Marwa BG, Stage IV: Ephemeral self, AI-generated image, 2024.

Marlon Lionel Staub, Carpet Company, concept film, AI-generated moving image, 2026.

Maximiliano Parlagreco, Iterations on agency, AI-generated moving image, 2025.

Mesopotamicore, Loading compatibility memory, AI-generated spatial image, 2026.

Mirage Bureau, Poker Guest, AI-generated image, 2026.

Moist Moon, Cleotilde, AI-generated image, 2026.

Namae Koi, Things That Stay, AI-gennerated moving image, 2025.

polina, The Dinner, AI-generated image, 2025.

Priscila Nassar, @CrochetPC, AI-generated image, 2026.

Radim Koros, Hecate, AI-assisted digital painting, 2025.

Robi Voigt, in collaboration with Tobias Wursthorn, QUANTUM TRILOGY: On Art, Body, and Nature, spatial installations, 2023–2025.

Stella Particula, ZORA, AI-generated moving image, 2025.

transLAB and n-D::StudioLab, Quantum Global Organoid Orchestra [Q.GOO], installation, 2025.

Tyrone Williams + Kenta Cobayashi, FLOWERS 01, AI-generated image, 2025.

Wuh.ey, Adaptive Form, AI-generated image, 2025.

Jury
// Edition 3

Jury for Edition No. 3

Edition Number 3
Open Call: 1 Jan - 31 Jan 2026
Release April 2026

Jury Member

Adriana Mora

Art Director and 3D Artist

Adriana Mora is a Mexican art director and multidisciplinary designer who works with various physical and digital techniques, but in recent years primarily with CGI. Adriana has been a designer for Google in New York City and, more recently, for Apple in California.

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

Aïda Muluneh

Photographer, filmmaker, curator

Born in Addis Ababa in 1974, Aïda Muluneh studied film at Howard University in Washington, D.C. Her photography features in major collections such as the MoMA and the Smithsonian National Museum of African Art, and she has received numerous accolades, including the European Union Prize at the Rencontres de Bamako and the CRAF International Award.  

Photo: Mario Epanya
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

Eylul Duranagac + Ferdi Alici

Artists and founders of OUCHHH Studio

‍Since 2010, as founders of OUCHHH, Eylul Duranagac and Ferdi Alıcı have created data-driven and AI-based installations shown worldwide. Their work merges scientific research with immersive forms of new-media art.

Jury Member

Hannah Johnson

Creative Strategy Lead, SNAP Inc.

Hannah Johnson is a cultural strategist and storyteller exploring the space where technology, identity, and justice meet. Her work centers on reimagining visibility—who gets seen, whose voices are amplified, and how power is expressed through image and narrative. She is the co-initiator of several DEI leadership programs and a regular jury member across global awards in AI, digital culture, and feminist art. She brings a lens shaped by intuition, disruption, and emotional truth—always drawn to work that challenges dominant systems and tells the story between the lines.

Photo: Alena Zielinski
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

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

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

Vivien Schulze

Multidisciplinary AI Fluent Creative Director, Designer & Educator

Vivien Schulze is a nature-loving computer girl who spent a decade at a creative tech agency bridging the gap between the physical and the digital for brands like Sephora, PwC, Mini (BMW Group), and PETA. Now she is dedicated to community and education aimed at elevating creative AI beyond the basics. She balances her time between learning and building the newest AI workflows and embracing the beauty of “visual accidents.” Offline, you’ll find her hiking with her dog or producing indie tracks in her self-built, pink garage music studio.

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
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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