Since its launch, Comedian has stirred ongoing debates on what constitutes art, sparking both fascination and critique across the art world. Its stop in Dubai forms part of a global tour ahead of its auction, where it’s expected to draw a high bid from collectors.

As Comedian continues to tour, art fans and skeptics alike have the chance to experience the infamous piece, whose exhibitions have included performances like a spontaneous “eating” of the banana itself. Cattelan’s work has become a cultural phenomenon, testing boundaries and igniting discussions on the value of simplicity in modern art.

The post Dubai Exhibits “Comedian” Banana Artwork Before Auction appeared first on Magzoid Magazine.

The exhibition is part of a broader initiative by Arts AlUla to promote the ancient oasis city as a rising art and creativity hub. Known historically for trade and cultural significance, AlUla is home to Hegra, Saudi Arabia’s first UNESCO World Heritage site, and boasts a storied connection to the Incense Road.

“Orbis Tertius” brings this heritage into focus, presenting diverse mediums that reflect the region’s pre-Islamic heritage and its current creative renaissance.

Artists created their works within the residency’s inspiring settings, including Mabiti AlUla’s palm groves and AlJadidah’s new residence facilities. Morand highlighted the theme “Orbis Tertius, A Journey Between Fictions and Myths” as a response to the area’s evocative mix of legend and reality, aiming to provoke a “dynamic dialogue” among artists, local experts, and residents.

Notable exhibits include Monira Al-Qadiri’s striking aluminum sculpture “The Guardian,” based on the resilient Calotropis Procera plant native to the region. Meanwhile, multidisciplinary artist Anhar Salem’s “A Day in AlUla” showcases local lives, balancing personal narratives with broader cultural reflections. The Gazzaz brothers, co-founders of Bricklab, introduced sustainable construction methods in rammed earth, blending regional materials with AlUla’s layered history. Works by artists like Ayman Zedani and Reem Al-Nasser continue this thoughtful engagement with the area’s natural and anthropological heritage.

The exhibit reinforces AlUla’s role as a bridge for cultural exchange, supporting the vision to create a sustainable, globally recognized creative center. “We are showcasing the extraordinary artistic vision flourishing in AlUla,” said Nora Aldabal, RCU’s executive director, “a place where ancient history meets contemporary art.”

The post AlUla Debuts Art Residency Showcase in Paris with ‘Orbis Tertius’ appeared first on Magzoid Magazine.

Running from Thursday to Sunday, the US-based New Art Dealer’s Alliance (NADA) is collaborating with the local artist-driven group, The Community, for a special event titled “Salon by NADA and The Community.” The already popular OFFSCREEN exhibition has broadened its scope by welcoming the Marian Goodman gallery for the first time, showcasing a unique project by Chantal Ackermann.

Additionally, Place des Vosges in the Marais district is hosting an informal assembly of eight pop-up galleries, including renowned names like Chris Sharp Gallery and Corbet vs. Dempsey.

Meanwhile, the established Paris Internationale fair marks a decade since its inception. Given the multitude of events happening in this condensed timeframe, a pressing question arises: is there enough room for everyone in the Paris art scene? Based on feedback from ARTnews, the current consensus is a resounding yes.

“I absolutely think there’s room for all of it,” said Lowell Pettit, a New York-based art advisor at the Association of Professional Art Advisors, in an interview with ARTnews. “If the economics are there, from the point of view of our responsibility to our clients, it’s required reading” to attend just about every satellite event. “It’s fascinating the number of different options and experiences … It just means more voices, more artists and more venues in which to experience art.”

Galleries are also enthusiastic about the opportunity. Silvia Ammon, director of Paris Internationale, shared that she has never encountered so many requests to join the fair, with 400 applications vying for just 75 spots. This influx is occurring even as smaller and midsized galleries face challenges due to rising operational costs and a downturn in the market. “It’s been a really difficult year for the whole art market, and young galleries in particular, but I had no withdrawals. I feel a very strong desire to be in Paris and for this week in October,” Ammon explained.

When asked if she felt concerned about competition from newcomers like NADA, Ammon dismissed any apprehension. She highlighted that Paris Internationale was established to fill a gap in international attention for the city, aiming to create a platform for the burgeoning Parisian art scene. “Paris [in 2015] wasn’t the same city it is today. We were frustrated that our colleagues and galleries … were not that interested in coming [here],” Ammon stated. “We wanted to bring in foreigners and offer something else, a platform, to the emerging Parisian scene.”

Paris Internationale, along with other satellite fairs, fulfills a crucial need in the art world since Art Basel cannot accommodate all the deserving galleries that apply.

A decade in, it’s evident that Paris Internationale’s vision has yielded significant results. The non-profit has earned a reputation for showcasing emerging and smaller galleries, often in unconventional locations, while maintaining its community-focused ethos without overextending. This commitment attracted Javier Peres, founder of Peres Projects, to participate for the first time this year. The fair is hosted in a minimalist multi-story building in Paris’s Grands Boulevards area, which gives off an industrial feel akin to a construction site. Peres has one of the fair’s standout booths, featuring a dual presentation of paintings and collages by Daniele Toneatti, paired with epoxy resin sculptures by Rebecca Ackroyd.

“It’s been amazing. Great people, organization, and frankly, more affordable,” Peres noted. “The market is not ideal at the moment, and costs keep going up.” He added that he made several sales on the opening day and encountered numerous new clients, although selling sculptures proved particularly challenging, indicating there was still work to be done.

Elsewhere at Paris Internationale, the ILY2 gallery from Portland, Oregon, showcased fabric and collage works by the 75-year-old artist Bonnie Lucas, whose creations date back to the ’70s. Senior director Jeanine Jablonski and gallery founder Allie Furlotti expressed that Lucas has yet to receive the recognition she deserves, as her highly feminine and ornate aesthetic often stood apart from mainstream feminist movements. The first day of the fair was bustling, they reported, with some sales made, but they remained eager to connect with institutions.

“I’ve wanted us to be in Europe,” Jablonski stated. “And this fair is a lot about community and care, in the way that we operate. It feels very aligned.”

At the former Baccarat Factory and Museum, exhibitors at the new Salon by NADA and The Community reported solid sales.

The venue, characterized by its bright and airy atmosphere, features lush atriums and intricate walkways, creating a captivating environment for guests and exhibitors alike.

A highlight of the Salon was a collaborative booth from Mitchell-Innes & Nash and 52 Walker, a David Zwirner offshoot in Tribeca, led by Ebony L. Haynes. They presented a poignant exhibition of works by the late Pope.L (1955-2023) titled “You Are What You Eat,” which delves into themes of race, food consumption among the economically disadvantaged, and societal stigmas. The installation, which includes broken columns formed from disintegrating mayonnaise jars stacked in casket-like boxes, found an institutional buyer on the first day of the fair, among other pieces.

“We wanted to have Pope.L’s work seen in France and by museums in Europe,” dealer Lucy Mitchell-Innes told ARTnews, noting that curators from various institutions had visited.

Heather Hubbs, NADA’s executive director, mentioned that Paris was the most requested location among member galleries for a fair. NADA brought 36 galleries, while The Community contributed 16 non-profits. Despite the influx of new participants, Hubbs expressed a desire to collaborate with Paris Internationale. “We’d love to think that we can work in collaboration with Paris Internationale,” she said. “I hope that relationship can get stronger over time. We definitely reached out to them and let them know we were coming. We didn’t want it to be a surprise and wanted to respect that.” She emphasized the distinct offerings of each event, minimizing the chances of overlapping experiences. “Paris Internationale’s context is great, but we’re also going to have a great context and it’s going to feel different,” she affirmed.

Booth costs for both fair models are comparable, and dealers appeared to face little hesitation in choosing where to showcase their work.

However, the new Salon faced challenges in local visibility. Margot Samel of her namesake New York gallery noted that she had not met any Parisians on Salon’s first day, but still managed to sell out her booth of ultra-realist paintings by Philadelphia-based artist Olivia Jia, priced between $7,000 and $19,500.

At OFFSCREEN, excitement was palpable as the exhibition took place across several levels of the Grand Garage Haussmann, a former parking facility. Featuring 28 solo presentations curated by artistic director Julien Frydman, the exhibition has emerged as one of the most immersive art experiences of the week.

Upon entering, visitors were greeted by a stunning, site-specific film installation by Argentine artist Andrés Denegri, titled “Clamor (Uproar)” (2012-2024). This piece captivates audiences with its clanking projectors, displaying Victorian-dressed figures emerging from a factory and vanishing into a billowing Argentine flag on multiple screens. The artwork includes winding film strips, scaffolding, and even elements that literally burn a film strip as part of the installation. Priced at around $108,000, a European institution has expressed interest in acquiring the piece.

Frydman explained that he sought works made through various lenses, whether mechanical or digital, to curate a diverse exhibition that included canvas pieces and sculptures. He aimed to create a selling exhibition that avoided a crowded atmosphere, echoing sentiments from other recent satellite fairs like Hong Kong’s Supper Club and Basel Social Club.

“Any person who wants to buy art can be welcome and can welcome the artwork,” Frydman stated. “It’s a very selfish approach, where I want to be able to receive the art, see the work, and share it.”

The post Paris Art Week: A Thriving Showcase of Satellite Fairs appeared first on Magzoid Magazine.

Highlights from the Fair

With dealers reporting notable sales on opening day, many galleries anticipated continued success throughout the week. A selection of exhibitors opted to showcase conceptually driven works, a refreshing rarity at art fairs, while others aimed to introduce their artists to a European audience.

Mary Sabbatino, vice president and partner at Galerie Lelong & Co., shared her thoughts on the event: “The Grand Palais is magical—you’re bathed in light and in art history. [Art Basel Paris] is more historical than Miami and more up-to-the-minute and diverse than Basel. Paris has its own energy and identity.”

Noteworthy Installations

Among the standout presentations, Frieda Toranzo Jaeger’s multi-panel painting, Look into The Abyss of The Nihility of The Absence of God and Truth and See the Creative Will There and The Horizon of Infinite, graced the Taka Ishii Gallery booth. This piece features embroidered nude figures of diverse backgrounds dancing around a tree, a modern interpretation of Lucas Cranach the Elder’s The Golden Age. Toranzo Jaeger’s work not only reimagines the original but also emphasizes the importance of diversity in art.

At Bortolami, Renée Green’s installation Seen (1990) takes centre stage. Resembling a performance space, this wooden structure references the historical narratives of Josephine Baker and Sarah Baartman, whose experiences shed light on complex societal themes. The installation’s text draws uncomfortable comparisons between these women and animals, provoking critical reflection on their treatment in history.

Innovative Creations

Bianca Bondi’s Exotic Elixir (2024), displayed at Mor Charpentier, presents a unique fusion of art and science. In a medicine cabinet, Bondi arranged real and artificial plants alongside vials, applying salt to explore chemical reactions that create intriguing visual effects. This installation challenges viewers to consider visibility and obscurity in art.

Meanwhile, Kei Imazu’s expansive installation at ROH Projects captures the essence of climate change in Jakarta through a 3D-printed depiction of the cityscape. By illustrating the layers of history beneath the surface, Imazu highlights the pressing environmental issues facing urban spaces today.

As Art Basel Paris continues until Sunday, attendees can look forward to discovering more exceptional installations and engaging narratives that celebrate the intersection of art, identity, and the human experience.

The post The Best Booths at Art Basel Paris: A Blend of Art and Innovation appeared first on Magzoid Magazine.

The art world has recognized the pressing need to address climate change, particularly as air freight accounts for a significant portion of art fairs’ environmental impact.

Through this commitment, the coalition aims to educate visitors, exhibitors, and supply chains about their carbon footprint and encourage sustainable practices across the industry.

Helen Lowndes, Director of the GCC, remarked, “We are now deep into an era of climate breakdown… leading fairs have recognized that there is no more business as usual.” This acknowledgment of the global climate crisis is driving the sector to adopt more sustainable practices, including tracking and reducing emissions at every level.

Frieze has already taken substantial steps towards sustainability, with its London fair reducing emissions from 207 tonnes in 2018 to 90 tonnes in 2019, though this didn’t account for the footprint of visitors or the transportation of art. Similarly, TEFAF has reduced energy consumption by 43% at its Maastricht event since 2019, with its Head of Fairs, Will Korner, stating, “Structural change requires immediate collective action.”

The GCC, founded in 2020, now has more than 1,500 arts organizations signed up, underscoring the growing momentum for a sustainable future within the art sector.

The new alliance of fairs aims to cut carbon emissions by focusing on reducing air freight and single-use materials. Their toolkit offers practical steps for organizers to track and minimize environmental impacts.

The post Art Fairs Commit to 50% Carbon Reduction by 2030 appeared first on Magzoid Magazine.

The Art Basel Shop will debut on June 11, coinciding with the fair’s opening to the public, while VIP previews of the fair will commence on June 10. The store promises to offer an array of exclusive and unique edition collectables, clothing, design pieces, and published works. Sarah Andelman, the founder of the renowned Parisian concept store Colette, has meticulously curated these items.

Andelman is celebrated for her pioneering approach to retail, which seamlessly blends art, fashion, and design. Her recent successful collaborations with French luxury brands such as Diptyque and Le Bon Marché, an LVMH-owned department store, highlight her expertise in creating unique retail experiences. This new venture with Art Basel is expected to bring her signature touch of innovation and style to the art fair’s audience.

In a press release, Art Basel’s Chief Growth Officer Hayley Romer articulated the vision behind this new retail initiative. Romer emphasised that Art Basel’s audience strongly desires products that encapsulate and extend the unique experience of attending the fair. “The Art Basel Shop is fully aligned with our vision to engage our audience and deliver more value to galleries, artists, and cultural partners,” Romer said. She noted that this venture is a strategic move to broaden Art Basel’s appeal and enhance its brand presence in the art and luxury sectors.

Romer, who joined Art Basel in September, has a distinguished background in luxury advertising and media. Her previous roles include publisher and chief revenue officer of Atlantic Media, head of luxury advertising at Forbes Media, and executive director of corporate sales at Condé Nast. Her extensive experience in these positions underscores her capability to lead this new initiative and expand Art Basel’s footprint in the lifestyle market.

The Art Basel Shop will feature various items under the brand AB by Art Basel. These include memorabilia, apparel, and collaborative products with artists. Noteworthy items include a wooden replica of the Jean-Michel Basquiat Ferris Wheel from the Luna Luna theme park and skateboard decks adorned with designs by Cindy Sherman, available as solo, diptych, or triptych sets. Additionally, a range of products will be available in collaboration with artists like Christine Sun Kim, further highlighting the store’s commitment to unique and artistically significant offerings.

This new retail endeavour represents a strategic extension of Art Basel’s brand, leveraging its established reputation in the art world to tap into the lifestyle and luxury markets. By offering exclusive products that resonate with the fair’s audience, Art Basel aims to create a lasting connection with visitors, allowing them to take a piece of the fair’s magic home.

The Art Basel Shop is poised to become a fair highlight, attracting art enthusiasts and the general public. As the fair unfolds next week, attendees can explore and purchase these unique items, further enriching their Art Basel experience. This bold step into the retail sector signifies Art Basel’s ongoing evolution and commitment to staying at the forefront of cultural and market trends.

With the launch of the Art Basel Shop, the fair is celebrating its rich heritage and embracing a future where art and lifestyle converge, offering a holistic and immersive experience to its global audience.

The post Art Basel Shop: Merging Art, Lifestyle, and Retail appeared first on Magzoid Magazine.

The gallery’s decision to represent Daniel Boyd follows the success of his solo exhibition earlier this year in Sydney, showcasing his exceptional talent and unique artistic vision. Boyd’s works will also be featured in the gallery’s booth at Art Basel in Switzerland this June, further solidifying his international presence. Additionally, an exhibition at the gallery’s Paris space is on the horizon, offering audiences in Europe an opportunity to engage with Boyd’s compelling artworks.

Hailing from Gimuy/Cairns on the northeast coast of Australia, Boyd boasts a rich heritage spanning multiple Aboriginal and Torres Strait Islander nations. His artistic practice is deeply rooted in Indigenous Australian traditions, particularly the dot painting technique, while also incorporating elements of Gestalt theories of perception to create captivating portraits and landscapes.

Boyd’s artistic prowess has earned him widespread recognition, with his work showcased in prestigious exhibitions such as the main exhibition of the 2015 Venice Biennale and the 2016 Sydney Biennale. His major solo exhibitions at institutions like the Art Gallery of New South Wales and the Gropius Bau in Berlin have further solidified his status as one of Australia’s most prominent contemporary artists.

Philipp Kaiser, president and partner of Marian Goodman Gallery, expressed admiration for Boyd’s work, highlighting its profound exploration of historical and cultural themes with global relevance. Kaiser first encountered Boyd’s art at the 2015 Venice Biennale, where he was struck by the artist’s ability to navigate complex issues of representation and identity with simplicity and elegance.

Kaiser’s appreciation for Boyd’s artistry deepened during their meeting last year, leading to the successful gallery show in January, which garnered praise from collectors, critics, and institutions alike. Kaiser emphasized the alignment of Boyd’s artistic concerns with the gallery’s ethos of championing visionary artists whose work resonates on a global scale.

Boyd’s inclusion in the Marian Goodman Gallery’s roster underscores the gallery’s commitment to providing a platform for artists with ambitious and thought-provoking work. With a history of fostering critical dialogue and showcasing international talent, the gallery is poised to amplify Boyd’s voice and contribute to the broader recognition of Indigenous Australian art on the global stage.

The post Daniel Boyd Joins Marian Goodman Gallery: Indigenous Australian Artistry Shines Globally appeared first on Magzoid Magazine.

Titled “Science & Safari,” the exhibit brings together the artistic lens of photographer Craig Butts and the scientific endeavors of Dr. Sophia George. The collection marries captivating photographs of Namibia’s landscapes and wildlife with Dr. George’s global research on cancer disparities within the African diaspora. The project is a testament to Sylvester’s commitment to using art as a healing tool, creating a gallery space within the cancer center that serves as a sanctuary of hope.

Desert Horse-Grant, Sylvester’s chief transformation officer and the visionary behind the installation, expressed the importance of providing visual breaks from medical imagery in a cancer center. “Our gallery is a message of hope, in a place of healing,” Horse-Grant said. “May the newest exhibit teleport and provide respite to the anxious.”

The exhibit unfolds as a walking gallery, featuring contributions from physicians, staff, patients, and the community. The captivating Namibia exhibit, conceptualized and curated by Horse-Grant, seeks to engage visitors and patients, offering them an immersive experience beyond the traditional clinical setting.

Dr. Sophia George, Sylvester’s associate director for diversity, equity, and inclusion, emphasized the critical mission of addressing health disparities in cancer outcomes. She and her colleagues are part of a global effort to decode Black genomes, exploring cancer-specific issues faced by populations across the African diaspora. The exhibit, with its QR code-linked information on Dr. George’s research program, becomes a creative pipeline to the ongoing clinical trials and studies.

Photographer Craig Butts, who traveled with Dr. George to Namibia as part of the African Cancer Genome Registry Study, captured large-scale photographs of the landscapes and animals. His personal connection to the cause, having lost family members to cancer, adds a profound layer to the exhibit. Butts’s donation of the photography aims to make the safari and related science accessible to all.

“Science & Safari” is not just a visual spectacle; it is an immersive experience that blends art and science seamlessly. Dr. George expressed that the exhibit “captures the genetic landscape of the African diaspora by working collaboratively with native Africans.” The display allows visitors to appreciate the beauty of the landscape and the constituents within it, fostering a deeper connection to the ongoing research.

Horse-Grant emphasized the therapeutic environment Sylvester aims to create, with calming images and live music for patients as they await treatment. “At Sylvester, we celebrate art and its power to heal. It is a way to connect us to one another and the community,” she said.

“Science & Safari” will be on display through the spring, offering a unique and transformative experience for Art Basel attendees and Sylvester’s patients alike. The exhibit serves as a reminder that the convergence of art and science has the potential to not only delight the senses but also contribute to groundbreaking advancements in healthcare.

The post Sylvester’s ‘Science & Safari’ at Art Basel: Bridging Art, Science, and Hope appeared first on Magzoid Magazine.

Franklin Melendez, co-founder of the New York-based art advisory service DM Office, collaborates with US-based dealers and collectors to shape collections, support emerging artists, and curate exhibitions worldwide. Despite the uncertainty swirling around the global art market due to geopolitical events like the war in Ukraine and economic concerns in the US, Franklin Melendez remains optimistic, echoing the sentiments of the Art Basel and UBS survey.

According to the report, high-net-worth (HNW) collectors in the US continue to invest in art, showcasing resilience in the face of external challenges. Melendez emphasizes the seasoned collectors’ ability to navigate the market’s ebbs and flows, seizing opportunities for both buying and selling. Many collectors under Melendez’s guidance focus on emerging artists, whose markets prove to be less susceptible to larger economic fluctuations.

The resurgence of in-person visits to galleries, fairs, and artists’ studios marks a positive shift as the impact of the pandemic on travel diminishes. Melendez, reveling in the return to studio visits, notes that engaging with art in person is an integral part of the collecting experience. Art fairs, he acknowledges, offer efficiency for clients with demanding schedules, presenting opportunities for significant conversations and discoveries.

The influence of these face-to-face interactions is exemplified in the experiences at Paris+ par Art Basel. Melendez describes how pivotal discussions during the fair influenced the buying patterns of high-profile Hollywood collectors for months to come. These encounters underscore the importance of reframing the art fair experience as the beginning of a meaningful dialogue.

Collectors, driven by self-identity, investment, and social considerations, play a crucial role in shaping the market. Melendez emphasizes the term ‘value’ over ‘investment,’ highlighting the cultural value that comes with critical acclaim and museum recognition. While only a fraction of HNW collectors identify as investors, many actively trade in and out of their collections as a natural progression in their collecting journey.

The Art Basel survey sheds light on American collectors’ growing interest in French and Japanese artists and dealers. Melendez confirms this trend among his clientele, noting an influx of acquisitions from Japan in 2022. Speculating on the motivations behind this shift, he suggests that collectors seek to add depth and texture to their collections by exploring artists beyond the confines of New York’s vibrant art scene.

When asked about his confidence in the market outlook, Melendez remains pragmatic. He acknowledges the resilience of the art market but emphasizes its vulnerability to external events. However, he remains bullish on the enthusiasm of collectors, describing the current moment not as one of boundless growth but as “a great moment for savvy collectors.” In his view, high-net-worth individuals, often astute businesspeople, recognize and act on opportunities even in times of disruption.

As the US art market continues to evolve, Franklin Melendez’s perspective offers a glimpse into the intricate world of art collecting, where passion, investment, and a keen eye for opportunity converge to shape the future of the global art scene.

The post Franklin Melendez: Navigating Trends in the US Art Market Amid Global Shifts appeared first on Magzoid Magazine.

Mammadov’s creative prowess has earned him recognition at various international biennales, festivals, and fairs, including Art Basel, Art Dubai, and the Venice Biennale. His innovative works transcend traditional boundaries, blurring the lines between the virtual and real worlds. By exploring the interplay between utopia and dystopia, the body and technology, he invites viewers to contemplate themes of alienation, escapism, and cultural displacement. Mammadov’s profound cultural commentary highlights the significance of machine intelligence in shaping and preserving cultural heritage, sparking engaging conversations and narratives.

Orkhan Mammadov’s passion for digitalizing and regenerating cultural heritage stems from a deep personal interest. His spatial juxtapositions serve as experimental grounds, provoking questions about the intellectual, emotional, and aesthetic implications of artificial visual cultural artifacts. Through extensive research-based practice, Mammadov’s works eloquently showcase the importance of traditions and history in appreciating and safeguarding tangible and intangible heritage assets from Azerbaijan and the Middle East.

Internationally acclaimed for his cultural data sculptures and dynamic carpet installations, Mammadov explores the multifaceted experiences of disaffected and displaced cultures, intertwining fiction and physicality. His creations forge a dialogue between machine intelligence and cultural heritage, stimulating profound reflections on our shared human experience. Drawing inspiration from Girih patterns and carpet illustrations, he breathes life into countless official and unofficial emblems that embody the cultural heritage of the Middle East, offering digital alternatives that transcend time for future generations.
Orkhan Mammadov’s visionary talent and fearless exploration of the intersection between media art and cultural heritage have positioned him as a pioneering force in the art world.

His thought-provoking artworks challenge conventional notions, opening new avenues for understanding and interpreting our rapidly evolving contemporary landscape. Through his creative endeavours, Mammadov continues to leave an indelible mark, offering fresh perspectives and reshaping the boundaries of artistic expression.

One of his most influential projects The Eastern Promises: Preserving Orientalist Painting Through Data Science invites us to consider the role of technology in art and the ways in which it can be utilised to engage in new forms of artistic expression. Art as a meta-discipline is “an umbrella encompassing history, philosophy, nature and science.” The AI-powered paintings presented by Mammadov offer a fresh and innovative take on a timeless artistic tradition, provide a glimpse into the future of art-making in the digital age, and raise crucial questions about polarization, redefining our rapidly developing world as well as exploring and preserving the social and cultural heritage of humanity, with its own intricacies, in a way that has yet to be decoded by future generations.

The post Revolutionizing Art with AI: Orkhan Mammadov appeared first on Magzoid Magazine.