“The Modern Exorcist,” an exhibition steeped in techno-animism, opens at the Taipei Fine Arts Museum, Taiwan. Ten interdisciplinary artists including Yin-Ju Chen, Kate Cooper, Cécile B. Evans, Sidsel Meineche Hansen, Pakui Hardware, and Po-Chih Huang (image: Chair, Sandpaper, Cockroach, Ocean, Seven, Termite and Banana, 2021) interpret posthumanist vantage points through virtual bodies and networked systems that link people to objects and other species. After all, “what is human?”

“Taskoch pipon kona kah nipa muskoseya, nepin pesim eti pimachihew | Like the winter snow kills the grass, the summer sun revives it” opens at the Robert McLaughlin Gallery (RMG) in Oshawa, Canada. Curated by Missy LeBlanc, the show features Joi Arcand (image: ekawiya nepewisi, 2017), Susan Blight, Tsēmā Igharas, and four other artists working in languages representing the seven major geographic regions of the land now known as Canada, ”celebrating and centering Indigenous language revitalization.”

The Fall, a site-specific installation by Susan Philipsz, opens at Amsterdam’s Oude Kerk. Building on the former church’s acoustics and legacy, the Scottish artist has derived a ‘sonic tribute’ to composer and organist Jan Pieterszoon Sweelinck, who was buried on site in the 17th century. Philipsz’ installation adds her voice to Sweelinck’s music, and suspends organ pipe forms in space, creating “descending scale sounds, which swell and evoke a sense of collapse, fragmentation, and absence.”

A critical reading of our entangled technological and social systems, “Reasonable Doubt” opens at V2_ Lab for the Unstable Media in Rotterdam. Curators Vincent van Velsen and V2’s Florian Weigl assemble works by Paolo Cirio, Sami Hammana, Femke Herregraven, Hannah Dawn Henderson, Yazan Khalili (image: Medusa, 2020), Anna Ridler and others that reveal these systems’ harsh reality—algorithmic bias, corporate surveillance—and their capacity for subersive adaptation.

“CAMP After Media Promises,” the 7th Nam June Paik Art Center Prize Winner’s Exhibition opens in Gyeonggi-do, South Korea. To celebrate their recognition CAMP’s Shaina Anand, Ashok Sukumaran, and Sanjay Bhangar present Moving Panorama (2021, image), an urban megamix spanning eight screens and five acts. Drawing on CCTV footage from their native Mumbai, Manchester, Jerusalem, and Kabul, the installation ”redefines the categories of observer, subject, network, database, image, and sequence.”

NASA’s Double Asteroid Redirection Test (DART) launches aboard a SpaceX Falcon 9 rocket at Vandenberg Space Force Base in California. An experiment in planetary self-defense, in fall 2022 the rocket will reach the Didymos asteroid system, impact its moonlet altering the asteroid’s motion—and the results will be observed from afar. ”This test will help prove out one viable way to protect our planet from a hazardous asteroid, should one be discovered that is headed toward Earth,” states NASA’s Bill Nelson.

The Smithsonian’s 175th anniversary exhibition “Futures” launches at the reopened Arts + Industries Building, displaying 150 objects—iconic collection pieces, industrial prototypes, and art installations—that invite “all dreamers, makers, and change makers” to imagine a better world. Among the touted highlights is architect and artist Suchi Reddy’s rotunda piece me + you (image), a towering AI (and Amazon) powered light sculpture that reflects “society’s collective conscious.”