{"id":679,"date":"2026-06-25T12:07:32","date_gmt":"2026-06-25T12:07:32","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=679"},"modified":"2026-06-25T12:07:32","modified_gmt":"2026-06-25T12:07:32","slug":"refik-anadol-the-art-worlds-happy-warrior-for-a-i","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=679","title":{"rendered":"Refik Anadol, The Art World\u2019s Happy Warrior for A.I."},"content":{"rendered":"
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\u201cAll right!\u201d Refik Anadol said, as the escalator carried us downward. \u201cWe are entering the dream of the machine.\u201d We had arrived in the cavernous first gallery of Dataland, the twenty-five-thousand-square-foot space, in downtown Los Angeles, that Anadol calls the first museum of A.I. art. Space-age music blared night-club-loud as pictures of birds, plants, and flowers cascaded down the walls. This array was a small sample of the half-billion images\u2014and the hundred thousand hours of audio, including birdsong, rain, and even silence\u2014on which Anadol has trained the Large Nature Model, an A.I. model that powers \u201cMachine Dreams: Rainforest,\u201d Dataland\u2019s inaugural show. The pictures swooped around and beneath us like a cloud of starlings, and an earthy, slightly metallic smell emanated from the diffusers we wore around our necks, which, along with a biometric wristband, each Dataland visitor receives upon arrival. The aroma is one of twelve scents\u2014formulated by the L.N.M., with a little help from L\u2019Or\u00e9al Luxe\u2014that perfume visitors\u2019 trips through the museum\u2019s five rooms. Anadol calls it \u201cthe scent of data.\u201d<\/p>\n

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Data is Anadol\u2019s alpha and omega, his medium and his muse. He often works with large archives, or, as with the L.N.M., scientific data gathered by organizations such as the Smithsonian Institution and London\u2019s Natural History Museum, and by his own researchers in rain forests across the world. \u201cVisualization\u201d is too humble a word for the operations that Anadol performs, though in recent years his work has been unusually visible. His art has lit up the Sphere, in Las Vegas; the stage of the Grammy Awards, in L.A.; and the halls of the World Economic Forum at Davos and the United Nations in New York. He has done \u201ccollaborations\u201d\u2014the industry euphemism for upscale advertisements\u2014with Bulgari, Dior, and Hennessy. He has permanent installations in Boston\u2019s Logan Airport, and in JPMorgan Chase\u2019s gargantuan new headquarters in midtown Manhattan. And in 2022, amidst a blowout year-long show, his \u201cUnsupervised: Machine Hallucinations\u201d became the first generative-A.I. art work\u2014and one of the first linked to non-fungible tokens\u2014to enter the MOMA<\/em> collection, and with it the canon of contemporary art.<\/p>\n

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MOMA<\/em> felt very far away as the images around us gave way to a \u201cMatrix\u201d-like environment of grids strobing to a driving beat. Anadol was describing how measurements from various rain forests were informing what I was seeing, but I was struggling to absorb our surroundings. \u201cIt\u2019s overwhelming,\u201d I told Anadol. \u201cThe room is seven hundred and twenty million pixels,\u201d he replied, by way of explanation. The sensory overload, he added, was meant to evoke \u201cthe sublime power of being connected to incredibly vast data sets,\u201d which Anadol views as the \u201cnew language of humanity.\u201d<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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After about fifteen minutes, the surging graphics and music stopped, and we were in near-darkness. As strings started to play Mahler\u2019s Third Symphony, the smell of wet earth rose from our diffusers, and a virtual rainstorm began. There was a delicate pulse in the background; Anadol explained that it was an average of our heartbeats, which, along with our galvanic response and body temperature, was being measured by our wristbands and processed by Dataland\u2019s \u201cConnectome,\u201d a miniature data center with top-of-the-line chips provided by Nvidia. The storm built until the walls and floor were covered with pale gray particles, billowing like smoke, then tessellating in triangles. The model learns in subtle ways from each visitor, but your data is automatically deleted, though you can ask for a copy first. (Guests can also choose to skip the wristband and go through as \u201cghosts.\u201d) \u201cThere is nothing, like, recorded here,\u201d Anadol said. \u201cIt\u2019s not a place for surveillance or whatever.\u201d<\/p>\n

Eventually, as horns and strings held triumphal chords, everything dissolved into what Anadol calls data pigmentation: a roiling sea of polychrome spheres, like a ball pit come to life. Each represented a data point in the L.N.M., and all were somehow responding to our presence. \u201cI love this feeling so much,\u201d Anadol said. \u201cFor five thousand years, we have looked at art work and felt something. But can the art work feel us back?\u201d<\/p>\n

An energetic forty-year-old who wears all black all the time, and who rarely stops smiling beneath his round black-rimmed glasses, Anadol speaks less of problems than of possibilities. At his studio, in L.A.\u2019s Frogtown neighborhood, some twenty data scientists, engineers, and architects work on dual-screen monitors, and occasionally walk on treadmills at standing desks. Anadol\u2019s black Range Rover bears a license plate with an e-ink screen, which he programmed to read \u201cBlade Runner,\u201d beneath his plate number. (The film is Anadol\u2019s most frequent cultural reference, though less for its dystopian plot than for what he calls its \u201cvibe.\u201d) He wears a black Oura ring on his right index finger and, sometimes, on his right wrist, a blue-bead bracelet made for him by members of the Yawanaw\u00e1 tribe in western Brazil, which he and Efsun Erk\u0131l\u0131\u00e7\u2014his creative and life partner, Dataland\u2019s co-founder, and, as she put it, its \u201cworst critic\u201d\u2014have visited routinely for immersion in the rain forest, along with the occasional trip on a local variant of ayahuasca. Through N.F.T. sales, the couple has raised millions of dollars for the tribe.<\/p>\n

Anadol studied photography and design at Bilgi University, in Istanbul, and earned a second M.F.A. at U.C.L.A., where his teachers included the noted media artist Casey Reas. But his formal education was supplemented, and subsidized, by tech companies. A Microsoft award covered some of his early research expenses, and in 2016 he was a fellow at Google\u2019s Artists and Machine Intelligence program. There he worked with Mike Tyka, who had helped develop DeepDream, a program that used neural networks, trained on millions of images, to generate psychedelic patterns. \u201cThat moment to me is so important,\u201d Anadol said. \u201cThat concept of, if a machine can learn, can it dream?\u201d Ever since, Anadol has spoken of putting a \u201ccamera in the mind of the machine\u201d to see what it \u201challucinates\u201d when trained on the large bodies of data\u2014always used with permission, often by invitation\u2014that he and his team meticulously prepare. In addition to wall- and even room-size \u201cdata sculptures\u201d made with, say, wind data or tourist photos of New York or brain-wave measurements or digital archives of Renaissance art, he also produces dynamic \u201cdata paintings\u201d that might be displayed in a museum or purchased by a collector.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Anadol enjoyed an early triumph in 2018, when he lit up the silver sails of the Walt Disney Concert Hall, in Los Angeles, with projections developed using terabytes of recordings, program notes, and archival documents from the L.A. Philharmonic. But he wasn\u2019t widely known until 2022, when \u201cUnsupervised\u201d arrived at MOMA<\/em>. The show followed a series of digital art works which Anadol sold as N.F.T.s., and from which MOMA<\/em> quietly earned a portion of the proceeds. Buoyed by the promise of digital art, and perhaps by its revenue, the museum displayed Anadol\u2019s work on a twenty-four-foot-tall high-definition L.E.D. screen in the Agnes Gund Garden Lobby, where it was among the first things visitors saw.<\/p>\n

To make \u201cUnsupervised,\u201d Anadol trained an A.I. on more than two hundred years\u2019 worth of art from MOMA<\/em>\u2019s collection: not just paintings and sculptures but video games, films, and design objects, along with their associated metadata. Then his team had the model identify patterns beyond human-imposed categories like \u201cAbstract Expressionism,\u201d say, or \u201cnineteenth century.\u201d Technically, what appeared onscreen were visions from the \u201cmind\u201d of the model as it moved through its map of the collection, and as it responded to site-specific information like the weather and sounds made by visitors. Visually, the result was a restlessly fluctuating Technicolor whorl. Abstractions that looked like scribbled pastels or Helen Frankenthaler oils or the iTunes visualizer would give way to churning data pigment, sloshing in a square frame. Soothing ambient music played in the background.<\/p>\n

\u201cRefik devised different ways of essentially diagramming, visualizing, and then even animating the history of modern art,\u201d Michelle Kuo, one of the curators who organized the exhibition, told me. She compared it to the Surrealists and their \u201cautomatic\u201d art, the whimsical painting machines made by the Swiss sculptor Jean Tinguely, and the collaboration between engineers from Bell Labs and Robert Rauschenberg.<\/p>\n

\u201cUnsupervised\u201d was wildly popular and eminently Instagrammable. Glenn Lowry, the former head of MOMA<\/em>, credits the work with helping rebuild attendance after the pandemic, and saw it as a mise en abyme for the museum. \u201cWe acquire works of art and then we often sell those works of art in order to acquire new works of art,\u201d Lowry told me. \u201cThe collection is in a constant state of metabolism and \u2018Unsupervised\u2019 is a metabolic project.\u201d It was eventually metabolized itself: toward the close of the show, MOMA<\/em> announced that it had accepted \u201cUnsupervised\u201d as a donation; one of the piece\u2019s former owners, a crypto investor and digital-art collector, now sits on the museum\u2019s board.<\/p>\n

The critical reaction was more ambivalent. Lloyd Wise, in Artforum<\/em>, noted how the piece evoked \u201cthe broader modernist tendency toward noncomposition,\u201d and Sebastian Smee, in the Washington Post<\/em>, called it an \u201cearly masterpiece of AI-generated art.\u201d Jerry Saltz, in New York<\/em>, dismissed the work as a \u201cpointless museum mediocrity,\u201d \u201csome cross between relaxation exercise and euphoric TED<\/em> Talk and NSA levels of data mining.\u201d Ben Davis, in perhaps the most substantial treatment, wrote in Artnet<\/em> that \u201cUnsupervised\u201d presented MOMA<\/em>\u2019s collection as \u201cjust a bunch of random visual tics to be permuted, rather than an archive of symbol-making practices with social meanings.\u201d He suggested that Anadol\u2019s \u201cpurely decorative, cheerleader-ish style of A.I. art\u201d\u2014as opposed to the social and political analyses of A.I. offered by the likes of Trevor Paglen and Hito Steyerl\u2014is one of the reasons he has received so much support from tech giants.<\/p>\n

It takes a certain chutzpah to use the most consequential technology of the age\u2014a technology which makes many deeply uneasy\u2014without somehow bringing those problems into the work. But for Anadol, art critical of A.I. is important yet \u201cpredictable,\u201d he told me. \u201cI don\u2019t think there\u2019s anything unusual about being there,\u201d he said. \u201cWhat is unusual to me is being here<\/em>.\u201d<\/p>\n

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Anadol refers to his collectors and patrons, like Nvidia\u2019s Jensen Huang, as \u201cpioneers.\u201d \u201cGood or bad for humanity, I don\u2019t know, but they are pioneers of their field,\u201d he told me. \u201cAnd I think that needs to be matched by another breakthrough. It needs another pioneership.\u201d He drew a comparison to the Renaissance, when an artist might be offered a chance to paint a chapel ceiling. \u201cJump cut, I feel, like, \u2018Hey, Refik, here\u2019s a G.P.U. we are building. We believe this will change the world, and we believe that you can use this for good.\u2019\u00a0\u201d<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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In that case, I asked, Jensen Huang would represent the Medici?<\/p>\n

\u201cCan be,\u201d he replied. \u201cI mean, we can be critical about those giants, and what they do for societies and governments. Again, my other colleagues are very good at that. But what I\u2019m trying to understand is, what is this really doing to the medium? What is it doing to the painting, to the brush, to the canvas?\u201d<\/p>\n

When it comes to technology, Anadol\u2019s preoccupations are ultracontemporary, but the way he talks about his role as an artist has more in common with the raw ambition of early modern painters and sculptors, or indeed of the tech founders he counts as friends and customers, than with the language of critique preferred by his peers. And yet this disconnect is partly why \u201cUnsupervised\u201d was a landmark. The piece made a broader public think, and worry, about how A.I. would change culture, and how it would bring new audiences, new money, and new ethical quandaries into the art world. And it marked the arrival of a new art-world character: a dreamer articulating a future for creativity on the stages of TED<\/em> (where he has spoken twice) and the Nvidia annual conference (where Anadol presented work made with the L.N.M.), and now marshalling enormous resources to found a museum from scratch. Anadol\u2019s positivity is not unheard of in his field: Andy Warhol, another innovative pop artist accused of being superficial and overly commercial, shaped his persona around \u201cliking\u201d everything. But, unlike Warhol, it\u2019s hard to read Anadol or his work as ironic. I always had the sense that he meant exactly what he said.<\/p>\n

\u201cNow we are entering the place for discovery, the place for sharing,\u201d Anadol told me, as we plunged deeper into Dataland. We\u2019d left the ball pit and gone through a dark hallway to the Latent Gallery, a narrow rectangular space in which various wall-sized screens offered different ways of interacting with the L.N.M. One lets you use a tablet for \u201cmachine drawing,\u201d squiggling with your finger to provoke a response from the model. I selected \u201cBlue Milk Mushroom\u201d from a list and drew a mushroom shape; a hyper-realistic fungus with three caps appeared, surrounded by a pixie dust that conveyed, in a visual language I must have learned from video games, life and freshness. \u201cThe biomes are inspiring the drawing techniques,\u201d Anadol said. Another station featured a \u201cUMAP<\/em> Browser,\u201d which lets you navigate through the model\u2019s training data and presents little factoids about various natural specimens.<\/p>\n

The next gallery\u2014with screens on the walls, floor, and ceiling\u2014contained the most transparently narrative part of \u201cMachine Dreams\u201d: an eight-minute journey through an idyllic forest world that resembles \u201cAvatar.\u201d First, you fall through a sort of wormhole teeming with blossoms and butterflies. Then a glass hummingbird\u2014Anadol told me that the figure came to him in a dream, and was interpreted by a Yawanaw\u00e1 chief as sacred\u2014leads us through a valley, following a stream that flows beneath our feet. We eventually arrive at a giant glowing tree, which opens yet another portal into a kind of cyber tunnel, its geometric forms flashing in blue, red, and purple. When we come out the other end, we hear a mournful birdsong. \u201cAt the deepest root of the wisdom tree\u2019s memory is a single song,\u201d the screen reads. \u201cIn 1987, the last Kaua\u02bbi\u00a0\u02bb\u014d\u02bb\u014d bird sang to a partner that no longer existed. He left pauses in the dark for her to answer. We hold the silence for him.\u201d In a show mostly devoid of explicit messages, the sentiment surprised me.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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The bird\u2019s plangent call echoed among other nighttime sounds as we processed to the final room, a high-ceilinged Sanctuary. Our biometric data appeared on the far wall\u2014heart rate, time spent in the museum, \u201cemotional temperature.\u201d \u201cThis piece is a real-time reflection of all we collected and shared and felt,\u201d Anadol said. I noticed the machine judged me \u201ccontemplative.\u201d \u201cSo we will uplift the energy!\u201d Anadol said with a laugh. On a towering screen appeared an enormous data painting: first the familiar multicolored spheres, and then marvellous garlands of bright little flowers, swirling as a Yawanaw\u00e1 song played. \u201cWe want to let the sanctuary heal us,\u201d Anadol said. On our way out of the gallery, we passed through the Design Store, where you can buy T-shirts generated from your data. Those who purchase the most expensive tickets (for a hundred and twenty-nine dollars; the starting price is forty-nine) get what Anadol calls \u201cedible data sculptures,\u201d rain-forest-flavored chocolate formulated with the A.I.\u2019s help.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Anadol reassured me that the L.N.M.\u2019s training data was ethically sourced, and that the Google cloud-computing facility running the museum mainly uses renewable power. But it wasn\u2019t until after I\u2019d left that I realized that climate change, habitat destruction, and all other human impacts on the environment go unmentioned in \u201cMachine Dreams.\u201d The conservation status of animals and environments is not included in the UMAP<\/em>-browser interface, and the Kaua\u02bbi\u00a0\u02bb\u014d\u02bb\u014d bird\u2019s extinction is mourned almost as a mythical event, dated but nonetheless out of time; no cause is indicated.<\/p>\n

The A.I. itself is presented similarly, so heavily aestheticized as to seem like a force of nature without a history, only awesome power. I tried hard to make sense of the various explanatory screens at Dataland, but found them more symbolic than helpful: the charts and graphs were dense and often labelled with acronyms; some showed scrolling lines of code, meaningful only to a programmer. (Visitors are now able to pose questions to a chatbot on their phones.) Instead of glimpsing into the \u201cblack box\u201d of the model, I felt as if I were staring at its outside painted in Day-Glo. The machine is watching you, learning from you, but you never know exactly how.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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For that reason, I think, Anadol\u2019s quieter abstractions provide the most meaningful moments in \u201cMachine Dreams\u201d: the ghostly rain that moves to the Mahler, the data pigment that churns and cascades, the final monumental living painting that dances on the wall. Such work moves beyond spectacle\u2014the kind supplied by \u201cimmersive experiences\u201d like TeamLAB, or indeed Disneyland\u2014to get at something like sense. No matter what data you feed into an A.I. model, it always remains abstract. Technical distinctions aside, the L.N.M. doesn\u2019t see the rain forest any differently than \u201cUnsupervised\u201d saw MOMA<\/em>\u2019s collection. Nature is just more grist for the mill, and we are, too.<\/p>\n

Anadol told me that he hopes Dataland gets the public to \u201cthink about the fears and concerns of humanity, to feel and hear things that are inaudible in everyday life.\u201d He compared himself to James Turrell, doing with information what Turrell did with light. \u201cI\u2019m trying to find the same feelings with data in places that don\u2019t exist yet,\u201d he said. Whether that place seems like a pleasure-dome or a panopticon is up to you.<\/p>\n

The day after visiting Dataland, I drove about forty miles east to Pomona College, where Turrell\u2019s \u201cDividing the Light\u201d sits in a small grove of palms in the middle of campus. I got there around half past seven, and joined a few others beneath the structure\u2019s canopy: an off-white frame, lofted high on skinny columns, that opens onto the sky. Around eight, hidden lights began to bathe the canopy in a purple glow. Some of the people around me spoke quietly, but mainly we sat in silence. For the next hour or so, the colors of the canopy shifted, slowly but perceptibly, as the sky clung to its blue and then, after lingering in the inkiest navy for just a few precious minutes, seemed to give it all away. Somehow, with nothing but a square hole, Turrell pulls the sky downward, defamiliarizing the most familiar sight there is, making you look with loving care at the thing that\u2019s too big, too far away to love. There\u2019s nothing hidden from you. The magic is that there is no magic. If I weren\u2019t telling you now, no one would know that I was ever there.\u00a0\u2666<\/p>\n

Read more America\u2019s Last Bookie Goes Down<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Max Norman writes about a visit to Dataland, a new, A.I.-inspired museum in Los Angeles established by the Turkish artist Refik Anadol.<\/p>\n","protected":false},"author":1,"featured_media":678,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[26],"tags":[],"class_list":["post-679","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-persons-of-interest"],"yoast_head":"\nRefik Anadol, The Art World\u2019s Happy Warrior for A.I. - City Relocation News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cityrelocationnews.com\/?p=679\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Refik Anadol, The Art World\u2019s Happy Warrior for A.I. - City Relocation News\" \/>\n<meta property=\"og:description\" content=\"Max Norman writes about a visit to Dataland, a new, A.I.-inspired museum in Los Angeles established by the Turkish artist Refik Anadol.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/cityrelocationnews.com\/?p=679\" \/>\n<meta property=\"og:site_name\" content=\"City Relocation News\" \/>\n<meta property=\"article:published_time\" content=\"2026-06-25T12:07:32+00:00\" \/>\n<meta name=\"author\" content=\"admin\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"admin\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"16 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/cityrelocationnews.com\\\/?p=679#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/cityrelocationnews.com\\\/?p=679\"},\"author\":{\"name\":\"admin\",\"@id\":\"https:\\\/\\\/cityrelocationnews.com\\\/#\\\/schema\\\/person\\\/3e7ce0c0c60d21e12a5ac61fb2b786d4\"},\"headline\":\"Refik Anadol, The Art World\u2019s Happy Warrior for A.I.\",\"datePublished\":\"2026-06-25T12:07:32+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/cityrelocationnews.com\\\/?p=679\"},\"wordCount\":3256,\"commentCount\":0,\"image\":{\"@id\":\"https:\\\/\\\/cityrelocationnews.com\\\/?p=679#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/cityrelocationnews.com\\\/wp-content\\\/uploads\\\/2026\\\/06\\\/804a34c6a9aacc5b6d8430066c8d7fc5.gif\",\"articleSection\":[\"Persons of Interest\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/cityrelocationnews.com\\\/?p=679#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/cityrelocationnews.com\\\/?p=679\",\"url\":\"https:\\\/\\\/cityrelocationnews.com\\\/?p=679\",\"name\":\"Refik Anadol, The Art World\u2019s Happy Warrior for A.I. - 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