Exploring temperature and information, Agustina Woodgate’s “More Heat Than Light” opens at Stroom Den Haag (NL). Drawing on three years of research at QuTech, the Argentinian artist activates materials and variables from quantum communication—diamonds, lenses, time, and temperature. Featured works include Future Star (2024), a thermal printer that outputs a climate log, and Radiations (2024, image), an array of infrared lamps and sensors with poems etched on them.

After honouring her with the 5th DAM Digital Art Award (nomination via critic Domenico Quaranta), DAM Projects Berlin celebrates American artist Rebecca Allen with a solo show. An early innovator of CGI and computer animation—the 1974 punchcard-generated sequence Girl Lifts Skirt (image) is considered one of the first pieces of feminist computer art—Allen is renowned for foregrounding “the body within technology” and collaborating with fellow icons Twyla Tharp, David Byrne, Kraftwerk, and Nam June Paik.

Sarah Ancelle Schönfeld presents a new experimental photo series in her solo exhibition “Labor Lab” at Schering Stiftung’s Project Space in Berlin. By dropping solvents of drugs and hormones—endogenous substances such as breast milk, pharmacological substances such as the contraceptive pill—on pre-exposed negatives, the German artist creates forms that “cast an aesthetic spell,” highlighting the complexi issues surrounding the control mechanisms of female reproduction.

“Half the parts, half the cost, and 95% less production tools mean America can mass-produce whole batteries of Barracuda at a scale that can beat China,” gloats Anduril co-founder Palmer Luckey on X. Announcing his autonomous cruise missile system Barracuda-M with a slick cel-shaded video, the VR-inventor-turned-arms-dealer talks up the design on social media. While shiny Pentagon weapons are nothing new, Luckey notably (and unscrupulously) brings Silicon Valley know-how to weapons manufacturing.

A new “living” artwork by Franco-German collective Troika opens at the University of Cambridge, exploring the idea of “ecological simulacra” and how, increasingly, the virtual informs the real. Third Nature (2024) consists of 15 trees planted in a grid pattern typically associated with software plug-ins and material libraries for digital landscape generation. “We were intrigued with how technological tools are shaping the way we perceive, depict, and construct our environment and nature.”

British artist Alexandra Daisy Ginsberg commemorates the evolution of chloroplasts—the plant organelles that capture sunlight and convert it into energy—in a new stained glass commission for Barcelona’s Manifesta 15. Every Thing Eats Light (2024) depicts Proterocladus antiquus, a microscopic seaweed fossil considered the ancestor of all green plants. Installed at the iconic former power station Tres Chimeneas, the vibrant shadow play seeks to remind visitors of the site’s troubled environmental and social history.

Munich’s LOHAUS SOMINSKY gallery juxtapozes a series of new plotter drawings by generative artist Harm van den Dorpel with genre classics by the late Vera Molnar in a new duo exhibition. “Angles Morts” is inspired by the Dutch artist’s own roots and influences, drawing connections to the early female trailblazers in the field. “Reflecting on the historical role of women in computational art and their often overlooked contributions, van den Dorpel honours the rigorous and visionary work of these pioneers.”

Fashion collabs, streaming, NFTs, immersive experiences: Kunst Halle Sankt Gallen’s group exhibition “ALL I EAT IN A DAY” pokes fun at “the growing spectacle of contemporary art formats.” Curated by Giovanni Carmine in collaboration with artist Cory Arcangel, who contributes a “cheap, fly-by-night version” of a Picasso light show (image), the exhibition explores media contexts, hype cycles, and art as entertainment with playful provocations by Emily Sundblad, Jayson Musson, Laurel Schwulst, Sanko GameCorp ©, and others.

New York’s Public Works Administration (PWC) examines “artworks as physical and digital storage” with “Incidental Container,” a meta-exhibition that presents works from nine artists including Jake Brush, Sarah Friend, Xavier McFarlin, Rebecca Millsop, and Molly Soda exclusively through documentation. Originally installed in an off-limits CubeSmart self-storage unit for the duration of a “First Month Free” promo, the works now surface as 3D scans and videos on monitors, streamed from a “Free 30-Day” Dropbox account.

FACT Liverpool opens “Art Plays Games,” a rotating showcase of artists and indie developers creating videogames for cultural commentary and experimentation. The show kicks off with works by Rachel Maclean, Sahej Rahal, Angela Washko, and Loopntale, asking questions about screen culture, representation, and our collapsing ecosphere. In Rahal’s Distributed Mind Test (2023, image), for example, players explore a post-apocalyptic future by “thinking as and with the non-human to uncover stories of the world left behind.”