Rika Nakajima: A New Book of the Dead, Part 3

連載 中島りか 新しい死者の書 第三回

Japanese artist Rika Nakajima reflects on the trial of Tetsuya Yamagami, who assassinated former Prime Minister Shinzo Abe in 2022, weaving together her own experience running the project space "Datsuisho – (a) place to be naked" in Tokyo's Yanaka district. As the space faced demolition in late 2025, Nakajima draws parallels between the trial's timing and the closure of her venue, recalling earlier events at the space that discussed the state funeral controversy and the cult issues exposed by the assassination. She describes attending the trial in Nara, observing Yamagami's demeanor, and connecting the case to broader themes of political aesthetics, fascism, and the theatricality of the judicial system.

Why AI Doesn't Steal Our Imagination – with Jenifer Becker

Warum KI uns nicht die Fantasie raubt – mit Jenifer Becker

Author and cultural scholar Jenifer Becker discusses the impact of artificial intelligence on creativity in the Monopol podcast "Fantasiemuskel." She argues that while AI-generated text is often generic, it can liberate us from the romantic myth of the solitary genius by demonstrating that most ideas already exist. Becker leads the "AI Lab Kit" at the Hildesheim Literature Institute, using experimental projects to push language models beyond their algorithmic comfort zones.

How Digital Animation Can Help Audiences Understand Installation Art Before They Experience It in Person

The article examines the inherent limitations of traditional photography in documenting installation art, arguing that static images fail to convey the experiential qualities of scale, sequence, and audience interaction central to the medium. It uses Olafur Eliasson's iconic 'The Weather Project' as a prime example of a work whose atmospheric and social dimensions are lost in photographic reproduction.

Grimes joining LinkedIn is artwashing at its most brazen. I should know – I released my new film on there

Artist Alan Warburton critiques the migration of creative professionals to LinkedIn, sparked by musician Grimes' recent pivot to the platform to promote her appearance at an Nvidia tech conference. Warburton, who recently released his AI-focused film 'Image Empire' on the site, describes the move as a desperate response to the 'enshittification' of traditional creative platforms like Twitter and Vimeo, which have been overrun by bots and AI-generated content.